Slap Happy Larry

picturebooks, apps, eBooks, short stories

Tag: australian

Picturebook Study: Pig The Pug by Aaron Blabey

pig-the-pug

Following on from my lengthy post about screenwriting tips, and how relevant (or not) they may be to writing children’s books, here’s an example of a picture book which fairly closely matches advice from John Truby, author of Anatomy of Story.

 

WHAT HAPPENS IN PIG THE PUG

Continue reading

Picturebook Study: Caleb by Gary Crew and Steven Woolman

This book is less picturebook (compound word), more ‘illustrated short story’ in typical picture book binding. In other words, the story could exist in its own right. The illustrations expand the story, sure, but unlike typical picture books for younger readers the words still make sense on their own. So perhaps this is best described as an illustrated short story for older readers — the most interesting kind of story I know (and sadly, the one most likely to go out of print or never make it to soft back, from what I can gather).

Gary Crew is a writer who defies convention in other ways as well. Not only in his story telling techniques and characterisations, but also in his ability to transcend age and genre boundaries. Take for example his hugely successful 1990 horror novel, Strange Objects (William Heinemann). Among numerous other awards and nominations, this book won the highly respected Children’s Book Council Book of the Year for Older Readers in Australia. But it was also short-listed in the adult category for the Crime Writer’s of America Edgar Allan Poe Mystery Award! Likewise, while Crew also writes picture books, more often than not they are written for older readers rather than the youngsters you might expect. So while Gary Crew is primarily marketed as a children’s writer, he is not constrained by marketing boundaries. Indeed, many of his books are ageless, able to be enjoyed by children and adults alike.

Australian Horror Writers’ Association

WHAT’S THE STORY ABOUT?

Written in first person point of view, the character as narrator, Stuart Quill, describes his university room mate Caleb van Doorn. It’s clear to the reader from inference that Caleb is the human version of an insect. Both Stuart and Caleb are studying entomology. Caleb’s behaviour grows stranger and stranger. He never seems to eat, but is one day caught eating a bowl of raw meat, with blood all around his mouth. On a field trip these two are supposed to be sharing a tent. Instead, Caleb disappears into the forest and manages to find a great collection of very rare insects. In the end, a woman is murdered and Caleb goes missing. The mystery is never solved. But enough information is given to the reader for us to know exactly what happened: Caleb metamorphoses backwards  and forward between insect and human, and in some sort of ‘reverse sexual cannibalism’ (that’s what they call it, since it’s normally the females who eat the males), Miss Emily is killed.

Continue reading

Picturebook Study: Rudie Nudie by Emma Quay

Rudie Nudie Cover

ABOUT THE STORY

A sister and brother have a bath together. Their mother towel dries them. Instead of getting dressed immediately, they take a few minutes to prance and leap and enjoy the way their textured environment feels against their skin. The story ends with their parents putting pyjamas on them and tucking them into bed. Everyone is exuberant from start to finish.

WONDERFULNESS

The words  have wonderful mouthfeel, and remind me of the prose of Dr Seuss at  his best. This is a kind of chant, which I can see being memorised and played out in real life by children who emerge from the bath.

There’s an argument to be made that there is not enough nudity in children’s book, or in media in general. Left to their own devices, children are interested in the body in its natural form.

Hannah's Undie People

by Hannah, age 6

There may well be a time when we look back on this period of history the same way we modern people tend to look back on the Victorian era: There’s something very strange about how we conflate nudity with sex. And surely this is the reason we don’t see more naked children in picturebooks for young children. Children in real life are naked a lot more often than they are naked in the books they read. The conflation of sexuality and nakedness is especially the case for naked little girls.

As Perry Nodelman writes:

There are few [especially] female nudes in picture books, simply because there are relatively few pictures of unclothed girls in picture books — it seems that we so associate feminine nakedness with sexual availability that artists tend to forbid its appearance in the theoretically sexless atmosphere of children’s books. Nevertheless, the rare female nudes in picture books tend to sit in bathtubs or hold towels around themselves or hide behind trees; they almost always take on the traditional gestures of nudity, and they almost always smile out at viewers. For instance, Carl Larson’s “Bedtime scene,” reproduced in Wiliam Feaver’s When We Were Young, shows a young girl in nothing but black stockings, facing the viewer; she stands and looks at us without modesty but clearly not without consciousness of her full frontal nudity. Her gesture implies that she knows she is being looked at and clearly assumes that her viewers have the right to look at her, and her pout makes it clear that she enjoys being looked at.

Even rarer than female nudes in picture books are naked females. The only two I have encountered are both infants, and thus, presumably, representations of a safely asexual innocence, and both were drawn by Maurice Sendak. When Sendak depicts the Princess of MacDonald’s The Light Princess as a naked baby with exposed genitalia, her facial gesture is unlike those we associate with nudity; she is neither smiling nor pouting nor in repose with her eyes close; she looks a little drunk. Of all the naked goblin babies depicted in Outside Over There, only one reveals her genitalia and only once, and that happens when she is too busy dancing to Ida’s wonderhorn to look very enticingly available. The other naked babies in Outside Over There do often take the poses of nudes, but their doing so establishes an ironic tension both with the fact that they are dangerous goblins and the fact that they are “just babies”.

There are more naked boys than girls in picture books, probably because we unconsciously accept that boys can have their clothes off without implying their availability for our pleasure. In fact, pictures of naked boys almost all show them clearly doing something–moving, active, not posing. One of Caldecott’s illustrations for “The Farmer’s Boy” shows a naked boy cavorting on his nurse’s knee while a nude girl with the pouty mouth of many pinups sits quietly in the tub, her voluptuous back awaiting our inspection. When male frontal nudity occurs–more often than does female frontal nudity–the boys in question are too involved in intense activity to be passive pinups. The action lines at the elbows and knees of Carlos Friere’s depiction of the unabashedly naked Simon in Daniel Wood’s No Clothes make it clear that is is in motion even though he directly faces viewers.

– Perry Nodelman, Words About Pictures

 

The wonderful but rare thing about Rudie Nudie is that we see two naked children (one boy and one girl) and neither of them is aware of the ‘gaze’ of the imaginary camera. They are completely unselfconscious in their nakedness. Not only that, but they take great delight in the sense of touch, rubbing their bare feet across the coir doormat, running through leaves, feeling the wind rush past as they run. This is a period of early child which is all too soon gone, but Rudie Nudie is a celebration of that carefree time.

 

NOTES ON THE ILLUSTRATION

Rudie Nudie bath scene

The best picture book illustrators are able to show characters in motion. Too often (as described by Nodelman, above), characters are too static. It is indeed easier to draw a character who is poised for the viewer. Much more difficult to convey a sense of movement. Emma Quay notes this on her blog, and realised between creating the first drafts and the final that even the mother needed more movement:

When I look at this page from my sketch book, I can see the history of the development of my ideas for the bath illustration. I tried a few positions for the little boy, and at first Mum was a bit too static, sitting on the right hand side of the bath. I decide to move her to the left and have her leaning in to splash the children. The various diagonal lines help add more movement to the picture.

Emma Quay

Illustrators and writers have had difficulty getting naked children published in books, and there are no signs that the self-publishing era is making it any easier. (Apple, for instance, has its own restrictions on nudity in products available on its app and iBooks stores.) Even when naked bodies are published, there is the hurdle of getting past the gatekeepers of children’s literature: teachers, librarians, parents. Maurice Sendak’s In The Night Kitchen ranks high on the list of banned books.

So how does Emma Quay avoid the ‘icky’ feeling that some adults harbour about children cavorting naked in books?

1. This is an Australian publication. I’m going to hazard a guess that Australians are generally a little more open when it comes to showing vast areas of skin. It’s probably to do with the subtropical/tropical climate of the top part of this continent. A hypothetical question: Would this book have emerged out of England, or America? If it had, it probably would have taken a slightly different form. I can’t imagine English children finding delight in rushing outside naked for all but a few weeks of the British summer. On the other hand, there are parts of Australia where you wouldn’t let your children run around outside without shoes on. In the end, anything is possible in a picture book.

2. There is no depiction of genitalia. The children are drawn side-on and in motion, and their raised legs hide any genitalia. Their bottoms are in full view, but…

3. These are highly stylised drawings of children.  It wouldn’t do to make these drawings too realistic, to the point where a viewer could recognise the child model upon which the illustrations are based. these children are everyone and no one.

4. The illustration style never lets the reader forget that these are just drawings. Apart from the highly stylised line-drawings, the colour of the children extends beyond the line, reminiscent of cut-outs glued on. So the reader thinks of collage. The graphic design of the book is quite like a scrapbooking project, with blocks of pastel colour forming the background. The ‘cut-out children’ therefore seem like embellishments, like part of a decoration. Their nakedness therefore is very much secondary.

Interestingly, the hue chosen for the colour of the skin is what we typically think of when we think ‘flesh colour’. This is the colour of the ‘flesh’ labelled crayon of my 1980s box of Crayolas. In other words, it’s nobody’s colour in particular, though undoubtedly reminiscent of ‘white’.

Rudie Nudie running down the hall

I really like that there is a father who gets involved in bath time here. Although the story could have been completed without a father in sight, I get the sense that some fathers (more often from an earlier era) feel uncomfortable getting involved in the nitty-gritty personal care of their (or especially other people’s) children.

Rudie Nudie dad's involvement

STORY SPECS

Published 2011 in Australia by HarperCollins

Children’s Book Council Of Australia short-listed book

Australian book industry award winner

COMPARE WITH

Books mentioned by Nodelman, and which work as counterpoints to Rudie Nudie:

When We Were Young William Feaver

The Light Princess Cover

Scene from The Farmer's Boy

Scene from The Farmer’s Boy

no-clothes-daniel-wood-paperback-cover-art

Picturebook Study: Possum Magic by Mem Fox and Julie Vivas

THE STORY

Grandma Poss uses bush magic to make a child possum (Hush) invisible so that Hush won’t be eaten by snakes. (I’m going to put aside the fact that snakes seem to ‘see’ via vibrations, so an invisibility superpower wouldn’t necessarily protect her…) But soon, Hush longs to be able to see herself again, the two possums make their way across Australia to find the ‘magic food’ (quintessentially Australian food) that will make Hush visible once more. Each  year on Hush’s birthday they eat the same food ‘just to make sure Hush doesn’t turn visible again’, thereby creating a kind of mythology about why Australians eat certain foods as celebration.

Continue reading

Picturebook Study: Tough Boris by Mem Fox and Kathryn Brown

Tough Boris Mem Fox

 

As fodder for stories, ocean piracy has never yet been out of fashion. Especially in stories aimed at boys, the pirates of modern picture books are often comical rather than scary; jovial rather than evil. Pirate stories bear little to no resemblance to the actual crime of piracy, which is alive and well in the world today.

What is the allure of pirates, and what kind of stories can they tell the modern reader? In this particular story, ‘pirate’ is a visual metaphor for ‘masculinity’. This is the age of the antihero; for adults see Mad Men, Breaking Bad, The Wire etc.

Marjery Hourihan breaks down the difference between pirates and heroes in her book Deconstructing The Hero:

gentlemen–pirates

neat–dirty

sober–drunken

rational–irrational

honest–deceitful

self-controlled–violent

law-abiding–criminal

England–island

This picturebook breaks down the dichotomy between pirates and heroes.

WHAT HAPPENS IN THE STORY?

Continue reading

Picturebook Study: Millie by John Marsden and Sally Rippin

Millie Book Cover

How young readers love to hear about naughty children. If this were a story by Roald Dahl, the naughty Millie would definitely have met a nasty end, but this particular naughty child remains the apple of her parents’ eyes. Since all children have bad thoughts sometimes, this story is a comfort-read, and would be especially so as a bedtime book at the end of a bad day.

Continue reading

Picture Book Study: Mr Chicken Goes To Paris by Leigh Hobbs

Mr Chicken Goes To Paris Cover

 

STORY

Not a high concept book — indeed, a chicken goes to Paris. For a holiday. It’s what it says on the tin. This is a third-person version of someone’s summary of a trip, of the kind it’s possible to get quite bored of, unless, of course, the holiday maker happens to be an enormous chicken. A reader’s enjoyment of this story will depend on how funny they think huge chickens are.

There is no real story to this poultry’s holiday and each page jumps to one of Paris’ famous tourist attractions.

– 3 Star Goodreads Review

I’m approximately 30 years older than the target audience, I thought this was rather adorable.

– 4 Star Goodreads Review

WONDERFULNESS

The main drawcard of this story is the disproportionate size of the chicken, who grows larger and larger as the story progresses. Continue reading

Picturebook Study: Where Is The Green Sheep?

Where Is The Green Sheep Cover

 

At first glance this book is so simple that it seems hard to pinpoint exactly why it is so popular. Here in Australia, I know many preschoolers who count this as among their favourite books. It has certainly been a favourite around here, and my daughter has memorised it.

Continue reading

© 2015 Slap Happy Larry

Theme by Anders NorenUp ↑