January 11, 2019 § 4 Comments
(Happy New Year friends! Before we start, a bit of housekeeping. I am finally on Instagram (@thebookmommy) and having lots of fun. My goal is to use it to cover more ground than I can with my weekly blog, including what my kids are reading, what I’m reading, and mini-reviews of books I won’t get to here but are still deserving of love. Join me!)
A few days after New Year’s, I asked each family member to come to the dinner table ready to share a New Year’s Resolution. My husband’s resolution was to find a new hobby; my daughter (never one to stop at just one) said she wanted to make new friends and get better at basketball; and my son said he wanted to read books faster, so he could “keep up” with all my recommendations (and the award for the person who stole my heart goes to…).
When it was my turn, I pulled out Cori Doerrfeld’s 2018 picture book, The Rabbit Listened (“I love that book!” my daughter exclaimed), and announced my intention to become a better listener.
I think it’s fair to say that, as a society, we all need to do a better job listening to one another, especially if we are to bridge the political, economic, and social divides threatening to define (destroy?) us. The president of the New York Public Library, Anthony W. Marx, recently published a compelling opinion piece, in which he laments that, increasingly, “our curiosity ends the moment we discover information different than what we already believe.” He continues:
This is unspeakably dangerous, and in direct opposition to the founding principles of our nation. We are meant to be a democracy of informed citizens, a country of curious people who feel a collective ownership over our future and joint responsibility to protect the values we are supposed to stand for: Inclusion. Acceptance. Discussion. Debate. Equality. Opportunity. Without these bonds and a commitment to establishing fact-based arguments and critiques of power, democracy is at risk.
Visiting our local libraries, Marx argues, might be the easiest and most rewarding gateway to better listening, which he argues is a natural extension of both community interaction and reading for pleasure. (“You can meet your neighbors there. You can find books there. You can find librarians eager to point you towards credible, vetted information there. You can find your community there.”) Amen to that!
I might argue that listening better also starts with the way we listen to our children. Am I the only one who finds this extremely difficult at times? I’m referring to the meltdowns. To the crocodile tears. To the shouting. To the histrionics. I’m actually quite a lovely listener if one of my children approaches me, calmly, to discuss a concern or problem. But that happens…um, almost never. Most of my children’s frustration with the world comes at inopportune times; is delivered in inopportune ways.
My reactions tend to run a gamut. I do empathize; actually, I’m pretty good at naming my children’s feelings for them. I often saddle up with a whole lot of excellent advice—you know, because I’m wise at 40-plus years. I usually think—and it’s just possible I’ve uttered these thoughts aloud—what a ridiculously inane thing to be upset about. Sometimes, I even devolve into histrionics of my own.
The Rabbit Listened (Ages 3-6) calls me out on all of that. It is a simple but convincing tribute to the type of listening which both soothes the inner beast and empowers the mind. The type of listening which strives, not for correction or teaching or distracting, but for connection.
The story starts with a boy who to falls to pieces when the block tower he has just built (“new,” “special,” “amazing”) is accidentally knocked over—by a flock of untruly birds, no less.
The boy is then approached by a steady stream of animals, each offering a different kind of help. A clucking chicken is the first on the scene, eager to commiserate: “I’m so sorry, sorry, sorry this happened! Let’s talk, talk talk about it!” (Yes, yes, yes, this sounds familiar.) “But Taylor didn’t feel like talking.” So the chicken leaves.
A bear is next, ready to help Taylor name his anger and channel it into shouts and roars. As if to say, come on, this helps me feel better, so this will help you! (Um, yup, guilty.) “But Taylor didn’t feel like shouting.” The bear leaves.
An elephant, hyena, ostrich, snake—each has just the thing to make short work of Taylor’s problem. Let’s just laugh about it! Let me be silly and distract you! Let’s just clean up and move on! Even, from the mouth of the snake: “Shhhh. Let’sss go knock down someone else’sss.” Revenge feels good, right?
But Taylor isn’t having any of it. And what do the animals do? They essentially throw up their appendages and leave. They absolve themselves of responsibility. As if to say, well, we tried. If this child doesn’t want our help, then tough tootie. (Personally, I have never thought those thoughts before. OK, maybe a few dozen times, but…)
Only the rabbit knows what Taylor needs. Only the rabbit knows how to approach slowly; how to hold his tongue; how to offer his “warm body”; how to stay for the long haul. “Together, they sat in silence until Taylor said, ‘Please stay with me.’ The rabbit listened.”
And then, something amazing happens. While the rabbit listens in silence, Taylor begins to recover his own mind. He vocalizes his feelings. He shouts. He does all the things the animals initially suggested. He laughs. He thinks about throwing everything away. He contemplates revenge. “Through it all, the rabbit never left.”
And you know what? Without a word from the rabbit, Taylor manages to arrive at the very decision most parents would want for him: “…when the time was right, the rabbit listened to Taylor’s plan to build again.” Taylor visualizes success. He celebrates his resiliency.
Is it possible for us parents to channel this rabbit, even as our kids get older and the messes get bigger? Certainly not all the time. New Year’s resolutions don’t stand a chance if we strive for perfection. But, after I read this book aloud at the dinner table, I told my children, I know I can do better. I know that sometimes you talk and I hear you, but I’m not really listening. Sometimes it’s because I’m afraid; I see you in pain and I don’t know how to make it stop. Sometimes it’s because what has happened has made me mad, too. Sometimes it’s because I’m just bone tired. But I know I rush in with my thoughts and ideas. That I try for advice or punishment or even a hug before you’re ready. I know that you have tangles of brilliance and curiosity and hurt inside of you. Tangles which will only unravel given time. Given acceptance. Given unconditional love.
What will I learn about my children if I listen more closely? What will I learn about myself? If you care to join me, let’s enter the year less afraid of the histrionics; less afraid of the silence; less afraid to find out we’re wrong. And maybe, just maybe, our example will help others listen better, too.
Just one last question: does anyone know where I can find one of these rabbits for myself?
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Review copy by Dial Books for Young Readers. 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!
December 12, 2018 § Leave a comment
This is mixed-media artist Pamela Zagarenski’s third year appearing on my Gift Guide (previously for this and this) and for good reason: there is a jewel-box quality to her picture books, their pages adorned with surreal and scintillating spreads destined for endless discovery. Her newest, Zola’s Elephant (Ages 4-7), written by Randall de Seve (whom I fell for long ago, when I used to sell The Duchess of Whimsy at my store), is every bit the treasure we’ve come to expect: a story of two girls, their pathway to friendship, and the phantom elephant which bonds them.
Zola’s Elephant may culminate in a new friendship, but it’s more about how difficult friendships can be to initiate. Especially when one of you is shy. At the heart of the story is a wild fabrication—created by our unnamed, red-haired narrator to mask her shyness—about the new girl, Zola, who has just moved in next door. The girls’ mothers have decided the girls “should be friends.” Except that our narrator knows Zola already has a friend. This is because she saw a large box being moved into her house. A box which can only mean one thing. An elephant.
Our narrator, herself an imaginative elephant aficionado, doesn’t need to go over to Zola’s house to picture exactly what she’s doing. “I know Zola’s feeding her elephant right now because I smell toast. Lots of toast.”
Never mind that the next spread reveals to the reader the actual situation over at Zola’s house, a familiar sight to anyone who has temporarily lost their parents to a mass of moving boxes.
And so it goes: our narrator delivers impassioned excuses for why she “can’t go make friends with Zola now”—Zola and her elephant are frolicking in a bubble bath; they’re playing hide and seek; they’re building a circus-themed club house (“I know because I hear hammering”)—and then the page turns reveal the stark, bored, lonely reality.
Ironically, the more our narrator tries to imagine away her hesitancy, the more she falls under her own spell. “I like stories…and clubhouses and playing hide-and-seek and taking bubble baths with elephants.” (An observant reader will note she has a stuffed elephant in her hands at the book’s beginning.) Perhaps she should walk next door and take a peek.
The spreads that follow, revealing not only what happens when the two girls meet, but how they end up making use of what was actually in the big box (spoiler: not an elephant), are a testament to how two imaginations can be better than one.
(Sheesh, you didn’t think I was actually going to show you. Something has to be kept a surprise for Christmas morning.)
Review copy 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!
December 5, 2018 § 1 Comment
“EVERY SINGLE EARLY READER BOOK IS BORING! NOT ONE OF THEM IS FUNNY!” my daughter blurted out in the middle of a (completely unrelated) dinner conversation two years ago. For months, she had been reluctant to practice reading and even more reluctant to talk about her reluctance. (True story: it wasn’t until her soul sister, Dory Fantasmagory, started going through a similar struggle that my Emily began to find words for hers.)
Never underestimate the power of humor to captivate a budding reader. I credit Mo Willems’ “Elephant and Piggie” series with kindling my older son’s desire to learn to read, but its seduction was largely lost on my daughter, who by the time it was her turn had been hearing those books read aloud (by her brother) for years. Thankfully, Willems went on to create an imprint of similarly-toned readers; and funny, offbeat stories by the likes of Laurie Keller, Charise Mericle Harper, and Dan Santat did bring a novel respite to my daughter’s gripes.
When I received a copy of Sergio Ruzzier’s Fox and Chick: The Party and Other Stories (Ages 5-7) earlier this year, my daughter—now a mature and prolific reader—snatched it up and announced, “Where was this book when I was learning to read? Mommy, do you remember how I told you there were NO funny early readers?” Yes, honey. Yes, I do.
As an early reader masquerading as a picture book, Fox and Chick has just about everything going for it: three short stories are illustrated as comic strips with occasional double-page spreads; the text is delivered entirely through speech bubbles; the vocabulary is largely phonetic; there’s sufficient repetition; and, best of all, it’s ripe with dry humor. (I would recommend it for a child who has been learning to read for a little while, but isn’t ready to move into early chapter books.) It also stars a pair of anthropomorphized animals every bit as quirky and different from one another as some of children’s literature most memorable duos (after all, before there were Elephant and Piggie, there were Frog and Toad and George and Martha).
The first story, “The Party,” serves as a perfect introduction to Fox and Chick’s personalities, best showcased when played off one another. Fox—restrained, meticulous, and borderline cantankerous—is less than thrilled when his book reading is interrupted by Chick’s incessant knocking. Chick—exuberant, impulsive, and stater of the obvious (“How can you be reading that book if you are talking to me?”)—is merely asking if he can use the bathroom. “Of course you may.” “Thank you, Fox. Very kind of you.”
Fox attempts to lose himself in his reading once again, though he can’t help but notice the ticking of the clock: Chick has been in the bathroom for some time. “Chick, are you okay?…Chick, I am coming in!” Fox is horrified by the chaos he finds on the other side of the door. It turns out “May I use your bathroom?” meant “May I use your bathroom to have a party with my friends?” “In my bathroom?!” roars Fox. Chick responds, “Oh, I see…,” and he and his pals quickly exit stage left.
Though he may play the part of the party pooper, later stories reveal Fox has a wonderfully droll sense of humor. My favorite story has to be “Good Soup,” where Chick follows Fox around his garden as the latter collects vegetables for soup. Fox’s vegetarianism offends Chick’s world order. “Fox, foxes are supposed to eat field mice, not carrots!” To which Fox responds, “I don’t like to eat field mice.”
The more exotic the vegetable, the more adamant Chick’s protests become, until he walks himself straight into the trap which a clever reader will have been anticipating all along: “And they’re supposed to eat squirrels…lizards…and little birds.” “Little birds?” says Fox (is that a sly grin?). “Yes, Fox, little bir…Uh-oh.” Later, the two sit down to enjoy Fox’s soup. “I’m glad you don’t like to eat little birds, Fox.” To which Fox responds, “At least not today.”
If the success of series like Elephant and Piggie are any indication, there’s huge appeal in early reader texts that make use of conversational banter to tell their story. Kids like knowing that the hard-earned words coming out of their mouth have entertainment, even comedic, value. Now add in Ruzzier’s always charming, expressive illustrations, and I say, thank goodness Fox and Chick are only getting started.
Review copy by Chronicle Books. 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 30, 2018 § 2 Comments
Ever since I hailed the stunning achievement of British author-illustrator Jenni Desmond’s The Polar Bear in my 2016 Gift Guide, I have eagerly anticipated the third installment in her narrative non-fiction series starring endangered animals. It has been well worth the two-year wait, because The Elephant (Ages 6-9), a tribute to the world’s largest living land mammal, is magnificent.
Accessible and beautifully-phrased paragraphs are packed with fascinating details about this mighty and graceful animal, which originated 55 million years: its territory, anatomy, diet, and behavior, as well as the differences between the Asian and African species. As in the other books in the series, a red-crowned child helps to showcase the elephant’s unique qualities, while also providing a touch of whimsy to the otherwise remarkably realistic art.
Did you know that an old African savanna bull’s tusk can weigh 100 pounds and be as long as two seven-year-old children stretched toe-to-toe? Imagine carrying that weight around! Would now be a good time to tell you that elephants have to bear all this weight on their tip-toes? “From the outside, their feet look flat, but inside, the skeleton reveals that the heel is higher than the toes, like a human foot in high heels.” That’s why they walk so softly for how heavy they are.
My daughter was particularly impressed with the elephant’s daily diet, showcased as a giant pyramid of food with a child perched at the top (she already knew about the insane amount of pooping—12-15 times a day—from our local zoo’s exhibit). “A large male could eat 700 pounds of plant matter a day, the equivalent of 100 apples, 90 lemons, 80 peaches, 70 pears, 60 oranges, 50 mangoes, 40 bananas, 30 coconuts, 20 pineapples, and 10 watermelons.” Imagine how long it would take to pack that lunch box every day.
But the heart of this book lies in its poignant exploration of the elephant’s social and emotional intelligence. While the males live and hunt alone, the females and their babies spend all their time in groups of extended family, organized around a matriarch. When one of their herd dies, the family engages in intense mourning and burial rituals, devoting weeks to standing vigil over the bodies and even returning to the burial site years later. “Oh, Mommy,” my daughter said, reverently.
The child in the book, reading his own book about this wondrous animal, is a reminder of what Desmond explains in the Prologue: that the elephant’s precarious existence is intricately tied to the behavior of humans in the past and present. Elephants aren’t just wonders to behold: their migration patterns, even their colossal dung piles, pave way for the survival of other plants and animals. Perhaps marveling over every exquisite page in The Elephant is a step towards ensuring this magnificent creature survives another 55 million years.
Review copy provided by Enchanted Lion Books. 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!
September 13, 2018 § 6 Comments
My eldest is a walking barometer: his mood reflects the very movement of the clouds, the atmospheric pressure, the veil of precipitation. Such a fine membrane seems to exist between the surface of his skin and the world beyond, that it’s often difficult to tell where he ends and the weather begins. A grey day brings with it fatigue at best and dejection at worst. The threat of storm clouds yields a heightened, agitated alertness. A clear blue sky produces bottomless joy, coupled with a wide-eyed innocence like he is seeing the world for the first time.
This sensitivity translates into an intellectual fascination with the weather: with weather books, with weather apps, with radar maps and a seemingly endless (read: maddening) ability to discuss weather forecasts. But as much as my son believes that arming himself with information will temper his sensitivity, it does little to soothe him in the face of severe weather.
At ten, with the help of ear plugs and a weighted blanket and an impressive mound of stuffed animals, JP has finally begun to sleep—or, at least, to remain in bed—during lightning flashes and thundering crashes. My heart leaps out of my body during these storms, fretting to be with him, yet knowing he will feel better, stronger, if he learns to weather them on his own. And he desperately wants to succeed. He yearns to separate his core self from the sounds and patterns and pictures outside. He wants to make his own weather.
If I could go back in time—to the early years, when I would try (and fail) to assuage JP’s weather anxiety with rational discussions about the probability of a tree falling on one’s house—I would take a certain picture book with me. Chitra Soundar and Poonam Mistry’s You’re Safe With Me (Ages 2-7), newly published by a UK imprint, is the book I was missing back then. A book that strikes just the right chord for that moment when the clouds threaten and the skies open up. A book to quiet the storm that’s inside, while letting the one that’s outside do its thing.
Both of my children are older than the intended audience of this book, but I bought it anyway—and not just for its calming tone. The metaphorical language attached to wind, thunder, lightning, and flooding is beautiful. And the geometrically intricate illustrations—inspired by folkloric Indian art—are positively stunning. An extraordinary reminder that we are never too old for picture books.
The book opens at bedtime. Four baby animals—monkey, loris, tiger, and pangolin—are huddled together, trying to sleep, but the “skies turned dark and the night grew stormy.” Now the wide-eyed animals begin to fret. Mama Elephant, here a kind of universal mother figure, pauses on her night walk to sit with the small animals, rocking them in her trunk and reassuring them, “You’re safe with me.”
Each time the animals begin to doze off, they are once again startled by the mounting storm. First, there is the wind, which moans aloud and tips the trees.
“Don’t worry about the wind,” whispered Mama Elephant. “He’s an old friend of the forest. He brings us seeds from faraway lands.”
“He’s loud,” said little monkey.
“That’s him huffing and puffing because he’s tired,” said Mama Elephant. “He is as gentle as a breeze when all the work is done.”
The baby animals closed their eyes. The wind didn’t worry them anymore.
Just as the animals are sleepy once again, “thunder clattered,” “clouds echoed,” and the “little animals sat up.” Once again, Mother Elephant personifies the storm element, eliciting empathy as she explains its valuable purpose in bringing life to the forest. The thunder, she tells her captive audience, helps to bring water from the sea, which the freshly-blown seeds need to grow. When the young loris points out that the thunder is too “noisy,” Mama Elephant explains: “She’s groaning from the weight of the rain…Soon she will turn as fluffy as flowers.”
The pattern continues with lightning, which “sparkles in the sky when clouds collide,” and then with the flooding river, whose rumbles concern little pangolin: “Is she angry?” No, Mama Elephant replies, the rushing water is simply gobbling up the shadows in the forest, on her way to return the water to the sea, thus allowing a new growth cycle to begin. This notion of life as cyclical is perfectly reinforced by the swirling art. Everything is temporary, the illustrations remind us: what is scary now will be beautiful later. We need only to wait (and, in the meantime, to sleep).
Like the animals hanging onto Mother Elephant’s every word, we as readers can’t help but pour over Mistry’s lush illustrations, perhaps wishing the miniature, densely-packed dots and geometric shapes would give way to more than just pictures of clouds, rivers, and elephant snuggles. But maybe we don’t need to look that hard. When our littles are fearful and looking to us for answers, maybe we don’t need to explain every little thing. We need to comfort. To soothe. Maybe throw in some poetic language and beautiful pictures for extra credit.
In time, my boy will learn to make his own weather, to not hitch himself to the highs and lows of the atmosphere. In the meantime, he’ll know he’s safe…with me close by in the next room.
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Books published by Lantana Publishing in the UK; distributed in the US by Lerner. 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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