Wolf Hollow by Lauren Wolk Novel Study

Though moons tend to be massive in children’s books, this would have to be the most massive I’ve seen in a while!

I have previously taken a close look at a lesser-known picturebook called Wolf Comes To Town. Wolf Hollow is the literary, middle-grade version of that book in some ways.

Word count of Wolf Hollow is 60,000. Originally written as an adult book, marketed and edited as a children’s book.

STORYWORLD

West Pennsylvania, 1943, autumn. We’re told the year right away. It’s immediately clear that this is a wartime story. Enid Blyton’s Faraway Tree series were also set during wartime but there’s not a word about the war. The fact that the year is mentioned at all tells us that the war will be significant in the plot.

“Wolf Hollow” is a romantic, intriguing name reminiscent of something Anne Shirley would dream up. (Raccoon Creek and the Turtle Stone are other fetching names used in the book.) But unlike the world of Green Gables, this is no utopia. Instead, Wolf Hollow is an ‘apparent utopia’, where people grow ‘victory gardens‘ and residents are surrounded by nature. There is plenty of hygge — the peeling of apples, the large family table in their big, generally warm farm house.

By the time we got to the schoolhouse, it was raining in earnest. We three had worn oilcloth ponchos, hoods up, and boots, so we were plenty dry and warm, but many of the other children came in soaked and shivering.

Like many stories with girl protagonists, this one is closely connected to the seasons. Notice how the hygge is moderated by details that show this setting is not in fact utopian:

Each season meant a world refashioned inside its stalls and storerooms.

Pockets of warmth in winter, the milk cows and draft horses like furnaces, their heat banked by straw bedding and new manure.

In spring, swallows fledged from muddy nests wedged in crannies overhead, and kittens fresh and soft staggered between hooves and attacked the tails of tackle hanging from stable pegs.

Come summer, yellow jackets nested in the straw, old oats sprouted through the floorboards, Houdine hens laid eggs in odd places where they might yield chicks, and dusty sunlight striped the air like bridges to somewhere else.

They have had electricity for a few years, introduced under President Roosevelt. Electricity had already become common in American homes during the 1930s but took longer to reach rural areas. This is one of the things which would’ve set a divide between ‘country kids’ and ‘city kids’ (Betty).

 

The school house of Wolf Hollow probably looked like this
Alfred Eisenstaedt, Mining Town, Pennsylvania, April, 1943

Annabelle’s class would have looked something like as depicted above, but because of lack of resources the classroom is overcrowded, so that when everyone turns up most students have to share a seat.

Today, I would learn some arithmetic, no doubt, and a few state capitals, why we fought the wars we fought, what Anne of Green Gables would get up to next, and why I shouldn’t mix bleach with ammonia.

The futility, or the insignificance of it to these country children, is shown in the sentence above. War is listed in the same sentence as far more mundane things, including cosy fiction. The children don’t see the point of war.

Annabelle realises she must do well at school. With two brothers she won’t have the opportunity to run the family farm. She has been told to study hard and get a career. Other girls of that era would have been told to marry well, but expectations were changing rapidly for women both during and after the war.

STORY STRUCTURE OF WOLF HOLLOW

WEAKNESS/NEED

Annabelle is a likeable, ordinary girl. Her weakness is that so far she has lead a happy, sheltered life with no real calamity. At the magical (critical) age of 12 this is about to change

DESIRE

Overall, Annabelle wants to be left in peace to go to school and get a career.

In the story, Annabelle wants to stop Betty from bullying her and to keep her brothers safe. Later, this morphs into the intense desire for justice — to protect Toby.

OPPONENT

Betty

Betty is introduced on page 5. As newcomer, she is immediately interesting to both Annabelle and to the reader. We expect things of newcomers. She is a big, tough 14 year old girl from ‘the city’. She’ll be living with her grandparents, the Glengarrys.

Betty is a bit of a stock bully. But when she kills the bird it becomes clear that she is more sociopathic than your typical middle grade bully. This girl has real issues. Partly to avoid problematic stereotypes, perhaps, Betty is blonde. In the First Golden Age Of Children’s Literature you rarely met a blonde baddie.

That said, Betty’s pretty blondness is partly what leads to her getting away with baldfaced lies. Her grandparents don’t believe she is violent and the adults don’t think to question if she really could see Toby on the hill from the belfry. The way adults discriminate based on complexion and pigmentation is brought to the fore when Annabelle asks her father who Hitler does like:

My father thought about his answer. “People with blonde hair and blue eyes,” he said.

“I would assign every lie a color: yellow when they were innocent, pale blue when they sailed over you like the sky, red because I knew they drew blood. And then there was the black lie. That’s the worst of all. A black lie was when I told you the truth. ” – Steve Martin

In this way, Betty is the local little Hitler. Like Swallows and Amazons, also set during war time, here we have a novel where the community battles fought by the children in some ways mirror what’s going on in the wider world. Similarly, Betty has targeted Annabelle because she perceives she is rich. One part of the reason for anti-semitism — irrational as it is — has historically been due to the perception that Jewish people accumulate an unfair amount of wealth owing to their sticking together and supporting each others’ businesses.

one sure sign that someone is an anti-Semite is if he agrees with the statement that “Jews have too much power in our country today.

Mark Weber

Annabelle is not Jewish, though she does have brown hair and brown eyes. (A ‘Betty and Veronica’ dichotomy.) She comes from a WASPish family.

Wolk makes clear exactly where Annabelle’s family sit in the economic hierarchy: as farmers they are neither poor nor rich, but exist outside the urban definition of ‘rich’ or ‘poor’. There is little to spare and the house is Spartan but being an old family with a large farm, they have been able to donate land for the school and church and are therefore rich by many standards.

However, the idea that you can look at someone from the outside and assume things about them is the critical idea here; Annabelle is not rich.

Andy

As Betty’s love interest, Andy is also an opponent. Andy, like Betty, is often compared to a dog. When he turns up late for school one rainy day he ‘tipped off his hood and shook all over like a dog as he looked around the schoolhouse.’

Aunt Lily

Annabelle’s parents are excellent parents, in danger of being Mary Sue characters, actually, so to disrupt the harmony at home we have Aunt Lily, another stock character who reminds me of two other fictional characters: Aunt Beryl from Katherine Mansfield’s most famous short stories, and from children’s literature, of Kate DiCamillo’s Eugenia from the Mercy the Pig series.

Wolf Hollow and Mercy Watson share a character trope of the skinny, elderly spinster

Aunt Lily is severe like Eugenia but also has a dreamy, romantic, thwarted-desire side to her, depicted with the small but telling detail that Aunt Lily goes to her room for Bible study, but can also be found listening to music and dancing at the end of her bed.

(Interestingly, Aunt Lily is a postmistress, which is the job L.M. Montgomery had, author of Anne of Green Gables. I wonder how closely L.M. Montgomery herself conformed to the severe postmistress trope.)

John and Sarah

Annabelle’s parents are loving and warm. Their response to the bullying situation is quite modern, in fact. An attitude fairly common in earlier eras was that children need to look after themselves, fighting back against bullies. Not so in this situation — when Annabelle tells her parents what’s been going on with Betty they tell her they’ll take care of it and that she should have told them sooner.

But the parents — owing to their goodness — are opponents, in a way, because in any healthy parent-child relationship, the parents will never be completely on your side. Annabelle doesn’t want to worry them with her Betty issues so she hides the problems she is having. And here’s a storytelling problem — perhaps a problem for the modern child — “Why doesn’t Annabelle simply tell an adult immediately?” “Tattle-tales and ‘dirty dobbing’ weren’t part of my own school culture, but in the last 10-20 years schools have largely instituted zero tolerance for physical violence and I’m fairly confident that most children would tell an adult if they were left with a black welt. Wolk explains in several different places why Annabelle won’t tell her parents. First it’s because she’d like to deal with her own problems on her own — which is actually a rule for protagonists in children’s literature:

I wanted to see if she was a barker or a biter.

At the beginning of chapter four:

My mother gave me a funny look as I stood at the back door the next morning, readying myself, before setting off for school. When she said, “Something wrong, Annabelle?” I nearly told her about Betty. It wold have been a relief to put the whole thing in her hands.

But although there were only apples and potatoes, beets and a few winter squash left to bring in, and although she, of all women on earth, was capable and strong, I had it in mind to spare her this particular battle. I’d thought it through: If i told her, she’d have to go to her friends, the Glengarrys, and tell them that their granddaughter was a hooligan, something they surely already knew but would not want to hear from a neighbour.

And despite the fact that she’d been able to fix nearly every broken thing in our lives, my mother could not promise me that Betty would not come at me again, even angrier — or worse, go after my brothers — if I tattled on her.

I had learned what incorrigible meant. A scolding was not going to change anything, and so far Betty hadn’t done anything to deserve more.

Finally, however, she does tell her parents. This occurs after the third Betty incident, in fact, making use of the Rule of Three In Storytelling.

See also: Lampshading of Parental Absence in Children’s Literature

Toby

We are not immediately sure whether Toby has a dark side to him. He doesn’t want any food, but what does he want?

I’m reminded of the Galloway character in the Jennifer Lawrence film Serena, in which a weird dude walks around in an almost supernatural way. In the adult film the character didn’t work. Partly because of the Galloway character in my opinion, who is two-dimensional and not that interesting.

Wolf Hollow and Serena share the trope of the suspicious town wanderer

He is introduced with a backstory in chapter three, after Annabelle’s first encounter with Betty. He soon proves his goodness to us, however, when he quietly intervenes in a bullying incident.

PLAN

Wolk sets up a mystery. Although this is not a mystery novel per se, there are mystery detective elements as Annabelle sets about on her own fact-finding missions, determining of her own accord whether Toby could be seen from the belfry, and if Betty was even up there at the time of the rock incident.

BATTLE

The climactic incident, after the wire trap, after the lost eye, is when Betty and Toby both go missing. This happens Chapter 12, about p120 out of 290pp. A little less than halfway through.

SELF-REVELATION

Because this is a story retold by a storyteller narrator, after a distance of many years, the self-revelation is given to us at the very beginning, and even used on the yellow version of the book cover:

Wolf Hollow cover with writing
The year I turned twelve I learned how to lie. The year I turned twelve, I learned that what I said and did mattered.

(The first chapter is actually bookended by these two sentences.)

When it is clear that Aunt Lily believes Betty’s story that Toby pushed her into the hole in the ground, Annabelle realises that some people will believe anything so long as it suits their own preconceived view. She realises that there are good lies and bad lies — that the world is not black and white.

By the end of the story Aunt Lily has realised that she was quick to judge Toby. Of course, Aunt Lily’s self-revelation is a lesson to the reader not to judge hastily.

NEW EQUILIBRIUM

This story has a classic fugitive arc. In children’s literature it’s often another child or an animal that the child rescues and nurtures. Courage The Cowardly Dog takes in the Hunchback of Notre Dame in The Hunchback Of Nowhere. In the case of Wolf Hollow, Annabelle is also harbouring a grown man in the hayloft. (Since this is literary and not horror comedy, the author did well not to make this sound creepy. I’m not sure it would work so well if it were set in 2017.) Haylofts are thought to be nurturing, comfortable places to sleep. At least, it’s always the case in stories.

“The loft will be fine,” he said. “It smells good up there. And I like the doves.”

I’m not sure about reality, though. I imagine it would feel scratchy and probably full of ticks. Here in Australia — snakes. However, a bed of hay is a common feature of utopian (or apparent-utopian) stories.

In the utopian world of Kiki’s Delivery Service, Kiki and Gigi sleep on a bed of hay and wake up to find they’re in someone’s breakfast.

An a fugitive arc the goodie eventually proves their goodness to the public. In this case Toby had to get into the hole and rescue the girl he supposedly harmed.

The problem with grotesques, though, is that in stories they don’t get happy endings. Experienced readers will have expected this as soon as we learned about Toby’s hand. It was inevitable from the set up that Toby would be shot.

However, it was not so inevitable that Betty died. The author avoided melodrama and achieved mimesis by having Betty die undramatically of systemic infection.

We can extrapolate that life will go on as before, but Annabelle is now an adult. She has been drawn into an adult world and there’s no going back. Aunt Lily may or may not be a tad kinder.

In America, lying can never be an act of caring. We find it hard to accept that lying would be protective, this is an unexamined idea. In some countries, not telling, or a certain opaqueness, is an act of respect.

Esther Perel

FURTHER CHARACTER NOTES

Ruth

Annabelle’s best friend Ruth is a dark-haired, red-lipped, pale girl with a quiet voice. We know immediately that she is not the star of the story. Such girls do not star in middle grade fiction. Instead, this girl loses an eye. I’m reminded of Mary and Laura from the Little House On The Prairie series. Laura is the spirited girl with gumption and attitude; Mary is expendable (plotwise) and sure enough, Mary too becomes blind. (The fact that Mary Ingalls became blind in real life is beside my point.)

Annabelle’s younger brothers, age 9 and 7, are repeatedly portrayed as existing in the world of childhood, in stark contrast to Annabelle who at age 12 is just starting to encounter adult problems such as prejudice and injustice. Henry and James run around gleefully, eat without self-consciousness and must be protected as the children they still are.

For a while, being included in these conversations had made me feel tall. Now I was ready to be eleven again and back up in bed like my brothers.

Townspeople

Other characters exist to flesh out the town and contribute to the plot — the kindly German man despised by town locals, the gossipy Annie Gribble.

Annie Gribble lived in a small house that we passed on our way to market. I’d only been there once, to drop off a bushel of peaches at canning time, but she’d invited us in for a glass of lemonade, my father and me, and I’d been fascinated by the switchboard that dominated her front room like a loom strung with thin black snakes.

With the snake simile in final position of that thumbnail sketch, we are left with a very clear impression of Annie Gribble. She is not to be trusted.

The constable is a kindly fellow, big and strong, but not as good at detective work as Annabelle.

By the end of the story it’s clear that these characters were fleshed out for a reason. Annie Gribble is a very handy archetype to have in a story, for narrative purposes. As the town gossip she is an omniscient eye. In Anne of Green Gables we have Rachel Lynde who performs a similar purpose.

SYMBOL WEB

Wolves/Dogs

It is explained that Wolf Hollow no longer has wolves but used to be the place where they were trapped and shot. There were deep pits dug there, which the wolves would fall into.

It is immediately clear that the character of Toby is something like a wolf — a wild creature roaming around suspiciously, misunderstood by humans. It is no surprise when something bad happens to him. The history of the wolves has foreshadowed the calamity which befalls the human-wolf. To be clear, there is nothing supernatural about this story. It’s not a werewolf tale. But this feels like a place of fantasy laid upon a real-world setting — the symbol web and the ‘evil’ newcomer and the poetic place names lend this feeling. Toby is compared to a farm dog numerous times throughout the story.

When Betty is found the ‘hunt’ for Toby intensifies.

Hollow

‘Hollow’ is a great word.

We might think of it romantically, as we are encouraged to do in Gilmore girls with the name ‘Stars Hollow’ — a genuine utopia, separate from the ills of the world by virtue of its being in a bit of a ‘hole’ (which has completely different connotations).

More generally, ‘hollow’ means ‘having a hole or empty space inside’. This describes the townspeople who so easily discriminate against those who are different from themselves.

It is eventually revealed that two of the three guns Toby hauls around are broken. ‘Hollow’ weapons, hollow threats. Symbols of how Toby looks dangerous but actually isn’t.

Plotwise, it is significant that Betty falls into a literal hole in the ground. This is of course a form of retribution, and readers are encouraged to examine our own glee, especially when it’s revealed how close Betty came to death.

But when Annabelle has her final idea she has it at the Turtle Stone, which is at a high point. In stories, characters have revelations in high places. Like Moses in the Bible.

See Also: The Symbolism Of Altitude

Toby’s Hand

Toby’s scarred and deformed hand is a distinguishing feature eventually used to prove his real identity. This trope is used to comic effect by Daniel Handler in A Series of Fortunate Events, with the tattoo of an eye on Count Olaf’s ankle.

It is significant that Toby’s hand is disfigured because the author is making use of the Red Right Hand trope.

Toby is a Grotesque (who often have Red Right Hands). A grotesque is ugly on the outside but good on the inside. (Or if they’re bad, it’s because they’ve been treated badly.) But because of his “Red Right Hand” the townspeople (as well as the readers) have been trained to see him as evil. There are good deformities and bad deformities, and having a deformed hand is not a good one.

Though most people probably think of the Nick Cave song these days, the term originated in Milton’s Paradise Lost. Before that, there are references to red hands in the Bible. Toby is a bit of a Jesus figure — ostracised by many for his difference, an aesthete, a long beard, a carpenter, intrinsically good, loves children.

In any case, the history of storytelling has taught us that characters with red hands might be supernatural and also very, very bad.

RELATED

Another novel, for slightly older readers perhaps, deals with questions of right and wrong, appearance vs reality. Big Mouth and Ugly Girl by Joyce Carol Oates.

 

Garth Pig And The Ice Cream Lady By Mary Rayner

Garth Pig and the Ice Cream Lady is a British picture book written and illustrated by Mary Rayner in 1977. The story is part fairytale, part 1977 modernity.

garth pig runs after ice cream van

ABOUT THE AUTHOR

Mary Rayner was born in 1933 in Mandalay, Burma of British parents. She was 8 years old when Japanese troops invaded Burma. Her mother and two siblings walked over the mountains into India. Her father had joined the army and was killed.

After the war, the Rayner family returned to the UK from India.

The sense of a family pulling together in dire circumstances is conveyed, though comically, in this story.

The illustrations are very much of England.

That’s because after a degree in English in England, Mary Rayner joined the publishing industry. Her first book was The Witch-Finder in 1976. This one came the year after, along with Mr and Mrs Pig’s Evening Out. She wrote and illustrated the pig books for her own three children, though by the time she’d finished them they’d themselves grown too old for them.

All of her children grew up to be writers themselves.

STORYWORLD OF GARTH PIG AND THE ICE CREAM LADY

Fairytale Land

This is very much a fairytale world, borrowing elements from:

The depiction of the village is very much a fairytale one, and decidedly English.

storybook-village_1000x1295

Whoosh Ice Creams

I wonder if English readers will know what a Whoosh ice cream is? I certainly can’t find out from my Internet research, though I thought it might be an abbreviation of the Whoosh! Cecil flavour. Apparently that is chocolate ice cream with salted caramel and cashews, but I doubt that’s what’s intended here because when the pigs finally get their whooshes they’re holding a rainbow coloured ice block type of thing.

(I believe the Whoosh! Cecil is American anyway, but even in 1977, English children were very much influenced by American culture. We see that in the second scene in fact, where all the brothers and sisters are playing cowboys and Indians.)

eating-whooshes-mother-sleeping

Apparent Utopia of Garth Pig and the Ice Cream Lady

This is an apparent utopia, in which everything looks homely and safe but in fact a child can be abducted by a stranger at any time. Fairytale worlds have always had the function of scaring children about strangers, and neglecting the cover the more sobering fact that adults most likely to hurt you are those you love and trust.

In any fairytale land you need a forest right next to the village/town. We have one here, and that’s where the wolf drives off to. It doesn’t matter for the purposes of a fairytale that there have been no forests in England since 1086 at the latest.

See also: Symbolism Of The Forest In Storytelling

Technology In Garth Pig and the Ice Cream Lady

It’s fitting that the wolf drives a Volkswagen Kombi because those things were always breaking down.

broken-down-kombi

STORY STRUCTURE OF GARTH PIG AND THE ICE CREAM LADY

WEAKNESS/NEED

It’s interesting that Garth Pig and the Ice Cream Lady opens with the mother pig scrubbing the floor because she is not the main character. We see her overleaf very much not coping with her ten children — she has her head buried in her hands. Most mothers in picture books are coping very nicely, in their aprons and clean, middle class homes, so it’s interesting to see this variation of motherhood. I wonder why the author decided to open with the mother — perhaps she’s saying that while the mother is busy with housework the children will get up to mischief.

mother-pig-scrubbing-floor_1000x1306

DESIRE

The main character of Garth Pig and the Ice Cream Lady is Garth. He wants an ice cream. Not only does he want an ice cream, he wants an upgraded ice cream. While all the siblings are happy with whooshes, Garth hopes there will be enough change to buy himself a double cone with flakes coming out of it. This is obviously the luxury choice of the storyworld. At first it looks as if Garth is punished for being so greedy. But he gets his upgraded cone in the end, because the mother feels sorry for him after his ordeal. It is therefore left to the young reader to decide if being greedy was all worth it.

There is a problem with the plot in my opinion: It is decided that Garth, alone, will go to the ice-cream truck and get 10 ice creams for his brothers and sisters. But there is no way in hell a person with hands let alone a pig with hoofs could carry back the ice creams alone. Haha. This is what Hitchcock would have called a refrigerator moment.

While a good measure of suspended disbelief is necessary to enjoy picture books, this is one step too far. In real life I’m guessing children will be familiar with the difficulties of carrying multiple ice creams without help, and there is no good reason why several of the little pigs wouldn’t go along to help Garth. It’s necessary for the plot, however; Garth is vulnerable precisely because he is alone.

 

OPPONENT

The wolf dressed as a nice lady.

Garth Pig buys and ice cream

Perhaps the wolf really is a female wolf — she remains ungendered. But the evil wolf dressing up as ‘grandma’ obviously has its roots in Little Red Riding Hood. I believe therefore that most readers will read the wolf as male underneath. (In cases where a female is revealed to be a male, this is playing on an instinctive human fear of mistaking something for something else. This trope continues today and is damaging to the trans community. See Julia Serano’s book Whipping Girl.)

ice cream van with ice cream horns in garth pig
The ice cream decorations on the roof look almost like horns.

PLAN

Just as happens in Dr Seuss’s And To Think That I Saw It On Mulberry Street, this story makes use of symbolic crossroads. When the ice cream trail runs out at the crossroads, the pigs are forced to change their plan from ‘following the trail’ to actively searching for Garth.

Meanwhile, in the van, Garth hears the wolf singing about chops and realises someone’s not quite right.

Even an abducted and therefore quite helpless child character must not be passive. We enjoy watching Garth try to get himself out of this difficulty of partly his own making. (If he hadn’t been so greedy about counting the money to see if he could upgrade his ice cream he might have noticed, as well all did, that the ice cream vendor was a wolf.)

Garth Pig gets himself out of difficulty

BATTLE

There is a fairly lengthy action scene in which the reader enjoys seeing the wolf try to control a bicycle built for ten as it careens downhill. This eventually ends with him being thrown into the river.

chase scene in garth pig

Next there is a shot to Garth inside the van, realising he’s in trouble. The van breaks down. Garth breaks free.

rolling down the hill in garth pig

 

downhill calamity in garth pig

wolf-falls-into-river

SELF-REVELATION

In this comic tale there is no groundbreaking soulsearching revelation. Instead, the pigs — who live in fairytale land, after all — realise that they still haven’t had their ice creams, and that they can just go up the hill and get some for themselves now that the evil wolf has been taken care of.

All is fair in this story, because the mother points out that she’s already paid for them, after all. (There’ll be no promotion of thievery in picture books, thanks very much.)

NEW EQUILIBRIUM

It’s fitting that the final image we see is of the wolf’s old straw hat, caught in the branches which hang into the river.

In stories, hats have a special significance of denoting power or otherwise. A father will give his son a baseball cap, for instance, or a king will give a prince his crown to symbolise a transfer of power. Without the hat as disguise, the wolf is now rendered completely powerless. We can extrapolate from this image that he won’t be bothering this village again.

new equilibrium in garth pig
Instead of dead bodies we sometimes see discarded items in picture books to accompany the disappearance of a baddie.

Wolf Children Japanese Anime

オオカミ子供の雪と雨

The Japanese anime Wolf Children is my seven-year-old daughter’s favourite film of all time. When she first watched it, several years ago, she decided that she herself must be half wolf. She has since developed an almost monomanical interest in wolves, and she’s not the only kid I’ve heard of to be affected thusly after watching this film: Wolf Children is an inspiring and engaging film for miniature nature lovers. I have recommended this film to people completely forgetting that it is basically a very sad story though, so consider yourself warned!

I wonder if the author of Wolf Children was inspired by the story of Amala and Kamala, two “feral girls” from Bengal who are alleged to have been raised by wolves.

Continue reading “Wolf Children Japanese Anime”

The Hunger Games

 

It’s safe to say this post contains spoilers about The Hunger Games.

volunteering-as-tribute

Plenty has been said about The Hunger Games and I doubt I can add another single thing, but I have been collecting links on this for ages as they raced through my feed, refusing to read them until I’d seen the movie and read the book.

BOOK VERSUS FILM

Here is one overview of the differences from Lit Reactor.

Love the books, liked the movie, don’t think the film would have nearly as much value for those who hadn’t read the books. – The Beheld

It seems to make a difference whether you watch the film first or read the book first. I fit into neither category because I watched the film as I was partway through the book. I’d already seen trailers and screenshots of the film, which would have informed my vision of District 12 and the world of the story, but I can empathise with those who say that the film did not live up to the expectations of the world they’d built inside their heads. It’s true: a film set, no matter how lavish, can never live up to a good imagination.

If I noticed one area in which the film fell down, it was in the dialogue. Dialogue could have so easily been taken straight out of the book, but it hadn’t been. (Noticeable mainly because my viewing and reading of this story happened simultaneously — probably not noticeable otherwise unless you’re a megafan.)

For instance, there’s a scene in the film where Haymitch Abernathy says to Katniss, ‘Nice dress, sweetheart.’ He then turns to Effie Trinkett, who is about to get into an elevator with them (I think), and Haymitch adds, nastily, ‘Not yours.’

I remember this scene because the rest of the audience in the theatre laughed, and I don’t find that kind of humour funny. I mean the kind of humour in which one woman is complimented on her looks while at the same time another woman is dished out a backhanded compliment. You’ve probably seen this meme: When Did This Become Hotter Than This? I hate that meme, because in its attempt to embrace a healthier body image for women, all it does is try and shift our views about ‘acceptable’ and ‘unacceptable’ body types. Women are still being judged primarily on their looks. This is why we should remain a little skeptical when evaluating The Hunger Games (the movie, especially) as some sort of feminist triumph. Is it really? (See below.)

While Effie Trinket is not a character to empathise with, she does exhibit a lot of the virtues which are expected of women in her position: enthusiasm, an outward appearance of politeness and a level of personal grooming which makes her look almost scary (AKA ‘Emotional Labor’). On the scale of disagreeable characters in The Hunger Games cast, Effie Trinket is one of the more harmless.

In general, movie adaptations of books are more open to cliche, whether it be at a story level or at a dialogue level. Perhaps cliches don’t stand out as much when they come in movie form, whereas on a page they never fail to clock us in the head.

One example, true of many book to film adaptations, is that the romantic element is played up in The Hunger Games movie. That’s an example of a storyline cliche.

As for dialogue, when Rue is fatally speared in the movie, I remember Katniss crouching over her. She says something like, ‘It’s going to be okay.’ I remember thinking, although I’d not reached that part in the novel, ‘No, she’s really not. You probably shouldn’t say that.’

Then I got to that same scene in the book:

One look at the wound and I know it’s far beyond my capacity to heal… There’s no point in comforting words, in telling her she’ll be all right. She’s no fool.

I much prefer the honesty of the book scene. Why did they change it for the movie when there was really no need to? I wonder if the dialogue in the film was influenced by the track which plays at Rue’s death, the one by Taylor Swift in which the lyrics go, ‘Just close your eyes /  The sun is going down / You’ll be alright / No one can hurt you now’.

Anna Sarkeesian (Feminist Frequency) has intelligent things to say about the differences between the book and the film in this video, and I find particularly interesting the reaction of the audience inside the theatre where she saw this movie. That, I suppose, is the main benefit of seeing a film with an audience. At home, you don’t get to see other people’s reactions. I also find it disturbing what people find (and don’t) find funny.

THE GENDER GAMES

It’s interesting to read about how the Hunger Games was sparked in the mind of Suzanne Collins, in an article entitled Suzanne Collins: the queen of teen fiction for tomboys by The Guardian.

I find myself irked more and more by the term ‘tomboy’. I always have, even as a kid when I was one.

First, a tomboy is a girl, so why a portmanteau including not only the word ‘boy’, but ‘Tom’ – a boy’s name? Nothing in the word ‘tomboy’ suggests we’re actually describing a girl.

Second, the fact that the concept even exists makes salient the fact that a ‘real’ girl has to be a certain way, not that girls come in all flavours and have a wide variety of interests, clothing styles and sporting aptitude. I can see why the word tomboy may have been useful back in 1900, but I’m disappointed to see it still used un-ironically in the headlines of a major newspaper.

Third, as I have noted before, it is assumed (I think wrongly) that boys will not be interested in a story about a girl unless she is an FFT (see below), so at the very least she must be a girl in a boy’s body. I don’t think this is the case for Katniss, and I don’t even like such black and white gender distinctions because I think they’re unhelpful, but it’s the assumption that continues to bother me. The proliferation (domination?) of ‘tomboys’ as a representation of ‘strong female character’ is almost a form of femme phobia.

It has been said that the gender of Katniss is pretty irrelevant. She’s an every-hero. I find it interesting, though, that she almost seems to have outrightly reject everything that could be associated with femininity. Not only looking pretty — that’s the most obvious one, and I have to admit, a welcome change — but even cooking. Nor does caring come naturally to her. She is making soup for Peeta in the woods. While master cheffing is a masculine pursuit, the day-to-day drudgery of household food preparation is feminine, and I can’t really blame Katniss for wanting to avoid it. Hence:

I’m the first to admit I’m not much of a cook. But since soup mainly involves tossing everything in a pot and waiting, it’s one of my better dishes.

But when a character is the opposite of all things feminine, I start to wonder if it wouldn’t have been better to throw in a few surprises, to show that Katniss has not rejected her gender altogether, but instead embraced the best parts and thrown away others as she sees fit. Where are the heroines who have managed that?

See also: The Gender Games, and another video from Feminist Frequency in which Katniss is evaluated as a strong female character. Conclusion: while the first book stands strong, the next two books in the trilogy see Katniss fail to continue in her growth as a person, and even regress.

Here’s another analysis of Katniss as a strong woman. The proliferation of such musings (this included) tells me something. We’ve been missing this character in her non-existence!

Dr Jennifer Shewmaker is impressed that in the movie Katniss isn’t sexualised at all.

WOMEN AS ACTION-HERO SUPERSTARS

Sociological Images always offers intelligent commentary, and in this article, argues that: “The Hunger Games should serve as a wake-up call to Hollywood that women action-hero movies can be successful if the protagonist is portrayed as a complex subject — instead of a hyper-sexualized fighting fuck toy (FFT)”

I agree wholeheartedly with this sentiment. I may be holding back with a few criticisms of this film for the simple fact that the producers actually took a risk and cast a genuinely strong female character as a lead in a big budget movie. Of course, the cynic in me says it wasn’t all that much of a risk, given the phenomenon which had been created by the author of the trilogy herself.

The Mary Sue references The Hunger Games in an article entitled ‘The Long Arm of the Lore: Female Heroes In Pop Culture‘, and with Katniss Everdeen as evidence, concludes that ‘kick-ass heroines are cool again’. Were they ever really uncool, or is it simply the case that audiences have had no choice?

On this point, Skepchick quite rightly questions the so-called ‘market-drivenness’ of the ghettoisation of female action leads. It comes from Hollywood producers.

Lots of people are saying that the opening weekend of The Hunger Games were good days for women and filmWill The Hunger Games Be The First Real Female Franchise?

MASCULINITY

No discussion of gender would be complete without a thought-provoking article on masculinity in The Hunger Games. (From Bitch Media)

THE BOOK ISN’T CHALLENGING OR LITERARY ENOUGH TO BE STUDIED WIDELY AS A HIGH SCHOOL TEXT

It is sometimes said that Modern Children Lack The Attention To Read Dickens, for example.

Literacy Journal’s stand is that The Hunger Games doesn’t deserve a place in the 6-12 ELA canon. I’m guessing that this is a view not unique to literacy advisors and advocates.

I can’t pretend to have made up my mind about the perceived ‘dumbing down’ of literature. That young adults today are reading less challenging works is certain. When I say ‘less challenging’, I mean the sentences are more simple at a syntactic level, the works themselves are shorter, and the plots are action dominated. I would also guess that a narrower variety of words is employed overall, but I can’t be sure about this.

What I am sure of, though, is that when it comes to the formal teaching of literature in schools, the single most important thing is that the students enjoy it, if not from the outset, then certainly by the end. I’m also sure that the literary merit of a book lies only partly in the book itself, and in large part with the way in which it is taught.

(Did you see this week that the Horrible Histories author has requested that his books not be taught in school? He surmises that if kids are made to read something, they won’t like it anymore. I’m not so sure about that. This request shows an enduring mistrust of teachers and the wonderful work so many teachers do in the classroom with regards to turning kids on to reading. As a side note, I have no idea what school inspectors have got to do with inspiring kids to read. Inspectors exist to make sure teachers and administrators are doing their jobs.)

To that end, The Hunger Games offers lots that I could immediately see as exciting and engaging in the classroom. With enthusiastic teaching, this book could lead to discussions about historical and topical issues such as war, the impact of reality TV, the distinction between public and private self (with Facebook as an example), a parable of the Occupy Wall Street movement, the list goes on.

It’s also a cautionary tale about Big Government. And undeniably a Christian allegory about the importance of finding Jesus. Or maybe a call for campaign-finance reform?

– from The LA Times

That’s not to say that I don’t have some sympathy for advocates of the slow reading movement, and the idea that some of the most life-changing books are worth the struggle.

Down here in Australia and New Zealand, many high school students have been reading John Marsden’s Tomorrow When The World Began as part of their English curriculum. I have taught this book myself, and I’d argue that Marsden and Collins are on a par as far as dystopian YA action fiction is concerned. Whether these novels are not challenging enough is hard to say. Certainly, for the top students, more challenging novels might allow them to write more nuanced essays and therefore get higher marks. But it would take an experienced teacher of gifted and talented students to say this for sure.

WHY IS KATNISS’ SKIN NOT DARKER?

A Whitewashed Hunger Games from Ms Blog.

I suspect the producers believed they were already taking a big risk by making a movie with a reluctant, non-sexualised action hero, and that they were absolved any further from doing anything else for equality’s sake. That’s the cynic in me.

You’ll not be surprised to learn that there is to be a Katniss Everdeen Barbie. (I would prefer the term ‘action hero’, but there you have it. For more on that issue, see here.) As pointed out by Jezebel, the doll doesn’t really have that ‘Seam’ darkness to her. She’s white all right.

For more YA whitewashed book covers, see The Yalsa Hub

This sense that movies should feel real started in the fifties and has been slowly evolving ever since. “We used to go to the movies for fantasy, to get take us away from everyday life,” says Turner Classic Movie host Robert Osborne, who also wrote 80 Years of the Oscar: The Official History of the Academy Awards. “The women all looked like Katharine Hepburn or Carole Lombard and the men all looked like Cary Grant or Robert Taylor.” Now, we want people to really look like the taxi driver or the waitress at the corner deli, he says. (This also means that we want our ballerinas to look anorexic and our downtrodden victims in eighteenth-century France to be near death.)

Why Extra-Skinny (or Fat) Actresses Win Oscars

THE WOLVES, THE WOLVES

The Wolf Muttations Could Have Looked Much More Horrifying – some concept art by Ian Joyner at io9. This is probably true, but I found the wolf muttations in the movie perfectly horrifying enough, thanks. I’m just glad the directors didn’t cut to the part where the wolves ate the blond boy. Instead, we saw the look on Katniss and Peeta’s face and heard the chomping licky sounds. That’s good enough for me.

THE HUNGER GAMES = TWILIGHT?

Fortunately not. While there are some similarities, The Hunger Games is better written at a line level (ie. I didn’t want to snap all the adverbs in half and throw them across the room), the main character is not moony.

Still, there is that old love triangle thing. Or is there? Feministe argues that the relationship model in The Hunger Games is not your cliched love triangle at all.

TERRIBLE COSTUMES?

I’m sure there are a number of costume designers who are miffed they didn’t get contracted for the costume design of The Hunger Games, because it would’ve been a great gig. A number of commentators have noted that the costume design was not good. But as a non-costume designer I enjoyed the costumes of this film. I particularly appreciated the pink eyeshadow of Effie Trinket, which made her look as if she had some sort of eye-disease, and the blue ponytail of Caesar Flickerman. The whole atmosphere of this movie reminded me very much of the second episode of Black Mirror, which is probably no good to you at all, since I’m sure more people would’ve seen The Hunger Games than the second episode of Black Mirror. But I highly recommend that series if you enjoyed the atmosphere of The Hunger Games. To be honest, that mood wasn’t what I’d been expecting.

TOO UPSETTING?

E.L. James (author of 50 Shades Of Grey) has said that killing children for sport is just a little too upsetting for her. This sentiment was echoed by an avid reader I know – a teenage girl who lives on my street. When I asked her if she’d read The Hunger Games she said, “No, and I don’t intend to”. She, too, had heard enough about the story to know that it would upset her too much.

While I didn’t find the story upsetting, I do find the general theme upsetting. We’ve been sending our young people off to war for generations. Many countries around the world still do. There are young boys in African countries today who have been taken from their parents and trained as nothing but fighters their entire lives. So I would argue that we should be finding The Hunger Games upsetting. Watching this movie, we can at least acknowledge our own privilege.

How did America turn into Panem? Like others, I imagine war broke out as a consequence of over-populationa and global warming. I find this quite upsetting too. The Hunger Games may be an imagining of a post-climate change world.

And all of the above are probably why The Hunger Games finds itself on lists of banned books. Sheesh.

For More On The Hunger Games:

1. The editorial process revealed by an intern (for those interested in writing).

2. A great map of Panem.

3. Collected mentions of The Hunger Games over at Slate, subtitled ‘An Ending A Tea Partier Would Love’, which is fortunately ambiguous enough that I can’t work it out yet, not having read the next two in the trilogy.

4. Here is a description of each song in the soundtrack to the movie. I thought the standout track was the end anthem, which is unfortunate since this is the part where everyone in the theatre walks out.

5. 7 Things You Might Not Have Known About The Hunger Games from Buzzfeed

6. Ideas For A Hunger Games Party from The Daily Meal. [Not much at all, I should think, kind of like our 40 Hour Famine parties we threw as teenagers.]

7. A Hunger Games Wiki for true fans.

8. An excellent summary of themes over at Connect The Pop, a SLJ blog. Here’s part one.

9. Like me, it turns out Jezebel has been curating interesting links on The Hunger Games this week. Check it out if you’re still intrigued. Especially if you’re interested in statistics.

10. Hunger Games influences baby names, but Katniss isn’t so popular.

11. How The Hunger Games Should Have Ended

12. 15 Women Who Could Direct Catching Fire Instead Of The Actual Candidates, from The Marysue

13. Female Authors Are Prominent on the ALA Banned Books List. (The Hunger Games is one of them.)

14. The Hunger Games Gets An Honest Trailer, by some people who didn’t much like the film, via the Mary Sue

15. A Film Review from Ladybusiness

16. The Sunday Salon: The Hunger Games, Merchandise, and Androcentrism from The Literary Omnivore

17. Another bunch of links, this time collected by SLJ

18. If Hunger Games Were 10 Times Shorter And 100 Percent Honest from Cracked

19. Philip Seymour Hoffman explains why bloody Hunger Games Is Good For Kids from WSJ

20. An Exercise In Editing or, Why The Hunger Games Makes My Eyes Bleed from R.L. Brody

21. What’s Wrong With The Hunger Games Is What Nobody Noticed from The Last Psychiatrist

22. A Radical Female Hero From Dystopia from NYT

23. A spot-on sartorial satire: Fashion’s extremity of appearance, values and language makes it a perfect subject of satire as seen in ‘The Hunger Games’ from Financial Times Style

24. Things The Hunger Games Can Teach Us About The War On Women  from Good

25. The Ultimate Hunger Games Victory Feast

26. THERE’S A THE HUNGER GAMES-THEMED SUMMER CAMP IN FLORIDA, which sounds awesome — gotta admit — until I remember the plot of the actual story.

27. Katniss is “A Wreck”: A Conversation with Suzanne Collins and Francis Lawrence: TIME talks to the writer-creator of ‘The Hunger Games’ and the director of ‘Catching Fire’ — the first in an exclusive five-part series

28. Catching Fire in the New Year: The Hunger Games and Pop Culture as Teaching Tools from CtrlAltTeach

The Three Little Wolves And The Big Bad Pig by Eugene Trivizas and Helen Oxenbury

The Three Little Wolves and the Big Bad Pigs is not only an inversion on the classic tale, but also a subversion of the message. Basically, this is a fable for a rape culture world.

2015 edition, with updated font and a new, blue background
2015 edition of The Three Little Wolves and the Big Bad Pigs, with updated font and a new, blue background
The Three Little Wolves older cover
Here is an earlier edition of this picture book, with a soft yellow background and classic serif font

 

As you can see from the back cover, this book was shortlisted for the Kate Greenaway Award.
As you can see from the back cover, this book was highly commended for the Kate Greenaway Award in 1993

Back in 1993, this book was a best seller and did well in a number of big prizes.

Most of the picture books I’ve looked at closely have been written in English, but this one started off in Greek, written by a famous Greek children’s author who is also a sociologist:

Dr Trivizas has published many books on literature, and he is one of Greece’s leading writers for children. He has produced more than a hundred books, all of them currently in print, and he has received more than twenty national and international literary prizes and awards.

— Wikipedia

The illustrations might remind you a little of the soft English countryside depicted by illustrators such as Beatrix Potter. Helen Oxenbury lives in North London and, like Trivizas, has a long list of books to her name. In 2008 she paired with our own Australian Mem Fox to create Ten Little Fingers And Ten Little Toes. Two  years later she co-created There’s Going To Be A Baby with her husband, John Burningham.

WHAT I LOVE ABOUT THE THREE LITTLE WOLVES AND THE BIG, BAD PIGS

ORIGINALITY

At first glance The Three Little Wolves and the Big Bad Pigs looks easy to take a classic tale and invert the goodies and the baddies. However, nothing interesting comes of this. The author/illustrator have to be just as inventive as anyone creating a tale from scratch. What Trivizas did here was:

He not only swapped the roles of the animals, he inverted the order of the classic story. In the original, it takes the first two silly little pigs quite a while to realise they should be living in a house of bricks rather than of straw or sticks. But Trivizas surprises us early on by having the smart little wolves build their house out of bricks. Where could the story possibly  go from here? As we find out, the ‘big bad pig wasn’t big and bad for nothing’, and as the little wolves build each successive abode more ridiculously strong than the one before (keeping to the rule of three), the big pig makes use of modern technologies (a pneumatic drill) and dynamite to ‘blow’ the house down.  The detail of the pneumatic drill is great — there’s nothing going down a level of specificity to get a laugh.

pneumatic drill

INVERTED MESSAGE

What’s the moral of the story in The Three Little Pigs? There are probably several, but the one I took from the story as a child was that one should always protect oneself from bad characters. The subtext is that bad characters are essentially bad — it is in their nature. Though what I’m about to say is most definitely an adult’s reading of this text, I’m very much reminded of the message that girls, in particular, get as soon as we start to ‘go out into the world’ ourselves: You must protect yourself from bad men. And if you don’t, well that’s your own fault really, isn’t it.

This particular message has been getting a bit of media discussion recently due to the work on domestic violence by Australian of the Year Rosie Batty, and an increasing awareness of what’s now known as Rape Culture, and the victim blaming that happens with domestic assault. (“Why didn’t she just leave?”)

What I love about the message in this book is that we’re telling children the truth about bad characters. No matter what we do to protect ourselves, if someone with bad intentions really wants to harm us, there is nothing we can do to stop them. A rapist intent on raping, for instance, will rape no matter what. If you manage to stay away from that person, he will simply move on to someone else, so broad announcements to baton down the hatches (don’t get drunk, don’t wear skirts etc.) do nothing. And that’s what happens in this children’s book. Instead, the little wolves have to wait for the big, bad pig to come good. If only real life were this simple, however. The big, bad pig comes good due to The Redemptive Power Of Beauty. In picture books, or especially in fairytales, beauty equals goodness.

 

The other part of the inversion I like is that you can’t tell a baddie from looking at them. Though the big pig is depicted as quite menacing, we are nonetheless conditioned to read pigs as victims and wolves as perpetrators in storybooks.

HUMOUR IN THE ILLUSTRATIONS

Oxenbury must be well aware of the typical child’s reaction upon hearing that a mother is throwing her children out of home. What sort of mother would do that, I wondered as a child. (We set a very high bar for mothers in children’s literature, even when those mothers are animals.) In her illustration — if you look very closely — the adult reader, at least, will notice a few details which depict the mother wolf as a bit of a lush. She has rollers in her hair (and tail), she’s painting her nails nonchalantly even as she’s telling her children to get out, and there is a very small bottle of something hidden in the folds of her bed covers, where she is presumably having ‘hair of the dog’.

Three Little Wolves opening page

On the topic of female characters in this story, there’s no reason why the adult reader couldn’t read the three little wolves as female. This is unlikely to happen because there are no feminine markers either, except one of the little wolves is very taken with his/her precious teapot, and my own stereotyping has me casting this wolf as female.

I like that the kangaroo with the wheelbarrow full of bricks is female. She has to be, of course, if the artist is to include the most wonderful thing about kangaroos — the joeys in their pouch. I like to think that the kangaroo construction worker would have been coded female even without the cute little joey in her pouch. Let’s have more of that in picture books!

Kangaroo

 

Wolves In Children’s Literature

In stories, wolves are a shorthand for opponent. This comes from the historical real life fear of wolves of course, but also from Aesop. Now that wolves are an endangered species, writers sometimes subvert this archetype and position the wolf as the sympathetic character. This also carries the message that no one is all good or all bad, and we can’t tell someone’s intentions from looking at them.

Peter and the Wolf poster

Ookami ga tobu hi (The Day Wolf Flew)
Ookami ga tobu hi (The Day Wolf Flew) by Miroco Machiko
  • Wolves in children’s stories and fairy tales represent human nature. In turn, we judge the wolf character by human standards. Predation = human evil/wickedness.
  • Wicked wolves are almost always gendered male.
  • They have an insatiable appetite.
  • Wolves in stories are almost always lone wolves, even though real wolves usually hunt in packs.
  • Originally seen as the enemy, there has been a shift towards stories in which the wolf is victim rather than perpetrator.
  • Among the wolf’s arsenal of weapons: threats/entrapment/falsehood/flattery/enticement/disguise/deceit.
  • We didn’t know all that much about wolves until scientific studies that took place in the 1940s and 1950s. After that they seemed a bit less scary. The studies took place precisely to try and eradicate them, but we learned for the first time just how social they are. Until this point it was thought that wolves were only bad — they were terrible for farmers, stealing their livestock. But after they were studied properly it was discovered that they are an important part of the predator-prey dynamic that plays out in the wild, keeping nature in balance.
  • This change in attitude towards wolves was reflected in children’s literature. The wolf was now depicted as noble or silly or funny but always child-friendly. Where wolves once devoured or nurtured children, now children shelter and nurture wolves.
  • Another type of modern story is that in which the child character takes on the persona of a wolf. This can be a metaphor for releasing an inner beast or overcoming shyness through anonymity or gaining strength and courage from the wolf’s physical form.
  • Non-fiction books for children about wolves almost always emphasises the link between dogs and wolves, making them seem even less scary.
  • Sometimes illustrations of wolves play up their dog-like traits, modifying the wolf’s physical features and giving him doglike gestures instead.

Trina Schart Hyman wolf dog

  • In fairytales, those who survive know the wolf’s ways. Those who don’t survive tend to be sick or feeble or stupid. Common victims are sheep and other silly creatures, though chickens are more often victims to foxes.

for more see: Picturing the Wolf in Children’s Literature By Debra Mitts-Smith

Virginia Wolf

Some Children’s Stories With Wolves In

WOLF’S MAGNIFICENT MASTER PLAN BY MELANIE WILLIAMSON

A lot of the best books have been written and illustrated by the same person (although some people are very good at one and not the other). This author/illustrator is an example of someone who does both equally well.

Rather than simply hunt the sheep, the wolf in this story decides to put the sheep to work knitting jumpers out of their wool. Then he will sell the jumpers to make some money to buy some new teeth. All of this is so ridiculous that it makes for a  great story.

The illustrations are done in a cartoony, bright and inviting palette. My three year old loved to trace her fingers along the lines of a very long knitted scarf and roads – she’s lately been reading a book of mazes. But that aside, there’s something very satisfying about running your finger along a line like that. I wanted to do it myself.

NOT NOW, MRS WOLF! BY SHEN RODDIE ILLUSTRATED BY SELINA YOUNG

Not now mrs wolf cover

Unusually for wolf characters, this one is a female. Tick!

A commonality of many wolf stories is that the wolf kidnaps a tasty creature in order to fatten them up, thereby depleting a larder of their own delicious food. Part of me always thinks, ‘If you had all this delicious food in the first place, why do you bother eating the animal?!’ (It all started with Hansel and Gretel, of course.) The answer — I don’t need to tell you — is because wolves love to eat meat. Bear that point in mind as you read on.

This book is creepy. As in, adapted by Stephen King, the premise would make excellent fodder for horror lovers. Turn the wolf into a woman and there you have it:

The wolf steals a chicken’s egg and instead of eating the egg, decides to wait until it hatches, because then she’ll have a meat meal. But the (cutesy) hatched chick is too wet and spindly, so she decides to fatten it up, all the while doing nice things for it like taking it to the park, because happy well-fed chicks make the most delicious meat. (Have you ever read the inside of your egg carton? Me thinks this author may have been inspired thusly.)

An adult reader can already guess the ending, because children’s books have rules, after all. The chick brings home a giant, delicious looking watermelon and the wolf decides to eat that instead.

For now.

Okay, okay, that last editorial insert was mine and mine alone, but the covert pro-vegetarian message isn’t lost on me. Along with Miss Spider’s Tea Party and various other stories I’ve read of late, I’m not a fan of carnivorous animals suddenly turned into vege loving critters. I know, it’s only a story, not a David Attenborough doco, but we all have our own sense of fictional-reality . This familiar storyline crosses the line for me.

JULIE AND THE WOLVES BY JEAN CRAIGHEAD GEORGE (1972)

I keep hoping this one will be made into a film.

Wolves became extinct in England between 1485 and 1509. They survived longer in Scotland but were eventually eliminated and according to the records the last one died in 1848. Thy are now extremely rare in Western Europe. In the United States only Minnesota has a wolf population large enough to maintain itself. In Canada and Alaska their numbers have diminished and there is concern for their survival…In 1993 the Alaskan government allowed the killing of 150 wild wolves…It is heartening to note that in 1995 the wolf kill was cancelled, perhaps giving the wolf a chance of survival.

Literature is at last beginning to come to the aid of the wolf, and the field of children’s literature has produced at least one outstanding novel which presents an informed and sympathetic picture of north American wolves: Jean Craighead George’s Julie of the Wolves [1972].

– Marjery Hourihan, Deconstructing The Hero

Julie of the Wolves is ecologically ahead of its time, but there’s a feminist issue with the ending. Roberta Seelinger Trites explains in Waking Sleeping Beauty that the main character lapses into the forms of earlier children’s literature such as Anne of Green Gables and Little Women by becoming socialised in predictable ways in the final chapter. The ending seems unsatisfying because the reader has been unprepared for the main character’s eleventh-hour decisions to conform to conventional expectations.

 The Three Little Wolves And The Big Bad Pig by Eugene Trivizas and Helen Oxenbury

Wolf Comes To Town by Denis Manton

Wolves by Emily Gravett

Wolf Children, film and manga — my wolf-loving daughter’s favourite movie of all time

RELATED LINKS

An in depth coverage of the book One Wolf Howls from Teach With Picture Books.

The Big Bad Wolf: Analysing Point Of View In Texts, a classroom resource from Read, Write, Think

Wolf Story, a classic gem covered by Readaloud Dad

Everything You Need To Know About The Bizarre Genetics Of Werewolves from io9 (I’m suddenly struck by the fact that wolves populate the picturebook world whereas WEREwolves crop up in YA fiction.)

And this isn’t about picturebooks at all, but rather about wolves in popular culture, but it’s a fascinating read so I have to leave a link to it somewhere: The Truth Of Wolves, Or: The Alpha Problem from Shuttersnipe.

From gluttony to philandering, wolf synonymous with bad deeds in children’s literature from The Economic Times

The Evolution Of Little Red Riding Hood

Little Red Riding Hood Well Loved Tales

“Little Red Riding Hood” is one of the best-known fairy tales. Depending on who tells it, this is a feminist story, or a patriarchal one. Little Red Riding Hood is told to children, but probably features often as a sexual fantasy. Elle avait vu le loup – “She’d seen the wolf” in French means she’s lost her virginity. There are also links to ‘true crime’, with certain historical crimes reminding us of this story of a girl in the woods.

A HISTORY IN A NUTSHELL

The history of Little Red Riding Hood is summed up neatly by Angela Slatter:

It’s been an interesting journey for Little Red Riding Hood. She started life in a tribal tale about a girl who outsmarts a wolf – all on her own, no outside help. A few centuries later, she gets a red cap, loses about twenty IQ points and gets eaten by a transvestite wolf. Add another hundred or so years, the cap becomes a hood, she loses a few more brain credits, gets molested, and then eaten by the same cross-dressing wolf but is rescued by a big, strong man and learns never to disobey the rules again. Adding insult to injury, in the 40s Tex Avery turned her into a stripper. Bruno Bettelheim* looked at Gustave Dore’s 1867 Little Red Riding Hood illustrations and saw dirty pictures – Little Red in bed with the wolf, giving him the eye. A red leather-jacketed Reese Witherspoon (oh, puhleeez!) played her in an Eighties film version, Freeway, in which a friendly neighbourhood serial killer fulfils the role of the wolf. Just when you thought it was all over, Angela Carter came along, reclaimed her and set her free.

*Bettelheim was an asshole who set psychology back a couple of decades. Look up his theories on the causes of autism. (tl;dr: Refrigerator Mothers)

 

In From The Beast to the Blonde, Marina Warner traces fairytales back to much older stories, oftentimes Greek and Roman legend.

Verumnus, god of autumn fruitfulness, fell in love with Pomona, goddess of summer fruitfulness, of orchards and gardens, but found that she was very zealous to keep her chastity; so he disguised himself as an old woman. In this masquerade, as the first wolf in granny’s clothing, the god of autumn softens Pomona; when he changes back into his ‘undimmed manly radiance’, she puts up no further resistance.

— Marina Warner, From The Beast to the Blonde

THE ENDURING APPEAL OF LITTLE RED RIDING HOOD

Why does “Little Red Riding Hood” continue to be so popular? Perry Nodelman uses Little Red Cap as an example to explain that it’s the repetitiousness of fairytales rather than the suspense that brings readers back for more:

If we explore ‘authentic’ versions of fairy tales, particularly those in the collection of the Grimm brothers, we discover that they tend to place particular emphasis on those central episodes that form the spine of the tale and to describe them in more detail. In the story called “Little Red Cap,” we hear a lot about the little girl’s conversation with the wolf but only a quick summary of her flower picking. Further attention is drawn to the spinal episodes because so many of them repeat each other…Red Riding Hood asks the wolf about a number of his physical characteristics. Furthermore, there often tend to be curious parallels and contrasts that relate even those spinal episodes that are not directly repetitive with each other and that focus our attention on them. In the Grimms’ “Little Red Cap,” for instance, the central moments are all conversations, and most of them involve somebody theoretically wiser telling Little Red Cap what to do–first her mother, then the wolf, then the wolf disguised.

As we read or hear a fairy tale, these patterns result in a rhythmic intensifying and lessening of interest as we move from central episode to less central episode and then back again; the effect is different from the gradual intensifying toward a climax that we get in other sorts of stories. And for those of us who already know the popular fairy tales we hear–and that surely is most of us at some point early in our childhoods–our pleasure in them must derive from repetition of that rhythmic pattern rather than from the suspense we usually enjoy in story; if we already know the story, there can be no suspense in it for us.

Words About Pictures by Perry Nodelman

The following are notes from:

  • The Trials and Tribulations of Little Red Riding Hood by Jack Zipes
  • Little Red Riding Hood Uncloaked by Catherine Orenstein
  • Deconstructing The Hero by Marjery Hourihan

Various Versions and Intended Audience

WHEN I was a child, I had recurring nightmares about wolves — beasts the size of skyscrapers that walked on their hind legs around New York City blocks, chasing and eventually devouring me. My mother says she made the mistake of bringing me to see a live performance of “Little Red Riding Hood” when I was a toddler, and that the man dressed as the wolf terrified me. I started having the dreams almost immediately after I saw the play, and they lasted into high school; I don’t remember when they stopped.

It was just a play, just a scary man, yet my young brain was indelibly affected by that one moment.

What Does A Lifetime Of Leers Do To Us? from Jessica Valenti

LRRH wasn’t always a children’s story. It’s a truth seldom acknowledged that fairy tales used to be for everyone. It’s anachronistic to even speak of ‘the child’ before a certain point in history, because the concept did not exist. There were babies, then there were people, sent out to work at the earliest opportunity.

Continue reading “The Evolution Of Little Red Riding Hood”

Guess Who’s Coming For Dinner?

This is one of my all-time favourite picturebooks and funnily enough, it has been created by a husband and wife team. Some of the very best picturebooks are obviously created with a lot of collaboration between writer and illustrator, and it amazes me that so many (also good) picture books are created without writer and illustrator ever meeting.

For anyone interested in gender equality in kidlit world, guess which of the creators of this book has their own Wikipedia entry? Guess who doesn’t?

Guess Who's Coming For Dinner Picturebook

PLOT OF GUESS WHO’S COMING FOR DINNER

Horace and Glenda Pork-Fowler hav one an “all-you-can-eat” weekend at Eatum Hall – a dream come true for the pair for whom no plate is too big. However, their greed and desire to make the most of their luxurious surroundings distract them from the true purpose of why they are there!

Continue reading “Guess Who’s Coming For Dinner?”