The other day someone in a book recommendation group wanted suggestions for a 10 year old who loves Hayao Miyazaki movies.
This basically describes my own kid, who’s been a Miyazaki fan since the age of three, before she even knew transmogrification wasn’t a thing. My kid enjoys Yotsuba&! (among other things, so I recommended that.
Yotsuba&! is a manga series which has been translated into English to capture an international market. We can deduce: Yotsuba&! is actually one of the least ‘weird-to-Westeners’ stories produced by Japan.
Someone else said, “Oh I love Yotsuba! She’s so cute.” Another person mentioned the general weirdness of Japanese media for kids. (It’s worth mentioning at this point, our kids generally love this stuff. Adults find it weird.) In any case, I should probably have recommended the series ‘with reservations.’
Because of my interest in storytelling, I wondered if I could attempt a theory on why, so often, adult English speakers find Japanese stories so… inexplicably weird. Continue reading “The Weirdness of Yotsuba&! by Kiyohiko Azuma”
Rejection sensitive dysphoria is an unpleasant emotion which should be more widely known. Not many people know how it feels, and even fewer know what it’s called. But Barbara Park’s Junie B. Jones is an excellent fictional example of a character who lives with these hard emotions.
Today I’ll take a close look at Junie B Jones and the Stupid Smelly Bus, the first in the Junie B series, first published 1992.
Junie B. Jones books are infamous for being some of the most highly challenged and banned in libraries across America because: Continue reading “Junie B. Jones and Rejection Sensitive Dysphoria”
Chekhov’s gun is a storytelling technique to do with foreshadowing. The author places a gun in the story/picture and one of the characters uses it later. This is the general rule: If the gun has been placed, the author must make use of it. Otherwise the reader will wonder what on earth it was doing there. The reader will feel cheated. In this way, stories are very different from real life.
Obviously, when it comes to children’s literature, guns are a bit of a no-go. However, the Chekhov’s Gun technique is super useful for increasing tension and narrative drive. Children’s writers must be inventive when it comes to avoiding actual gun violence in stories for young readers, but do make use of this same technique.
I’m not sure if someone has already done this, but for children’s literature I’m inventing my own related terminology. The kidlit equivalent of Chekhov’s gun is… Continue reading “Chekhov’s Toy Gun In Children’s Literature”
Pax is a middle grade novel by Sara Pennypacker about a boy and a fox who embark upon a mythic journey to reunite after Pax is abandoned in the woods. Structurally, Pax is the middle grade equivalent of Cold Mountain by Charles Frazier. Though this story is classic mythical structure, there are shades of the Female Mythic Form, as the main character Peter (who happens to be male), thinks and feels his way through his journey rather than engaging in battle after swashbuckling battle.
MORE ON THE STORY STRUCTURE OF PAX
Pax was only a kit when his family was killed, and “his boy” Peter rescued him from abandonment and certain death. Now the war front approaches, and when Peter’s father enlists, Peter has to move in with his grandpa. Far worse than being forced to leave home is the fact that Pax can’t go. Peter listens to his stern father—as he usually does—and throws Pax’s favorite toy soldier into the woods. When the fox runs to retrieve it, Peter and his dad get back in the car and leave him there—alone. But before Peter makes it through even one night under his grandfather’s roof, regret and duty spur him to action; he packs for a trek to get his best friend back and sneaks into the night. This is the story of Peter, Pax, and their independent struggles to return to one another against all odds. Told from the alternating viewpoints of Peter and Pax.
— publisher’s advertising copy
Continue reading “Pax by Sara Pennypacker Novel Study”