“Mercy Watson Fights Crime” is book number three in the Mercy Watson series by Kate diCamillo, first published 2006. This series is beautifully illustrated by Chris Van Dusen.
Beatrix Potter wrote Mrs. Tiggy-Winkle specifically to appeal to girls. She thought that Lucie’s feminine garb, with its emphasis on the lost clothing items (o, calamity!), would appeal to girls especially.
Even today, authors and publishers are creating children’s books for the gender binary* e.g. this book will appeal to boys because X; this will appeal to girls because Y.
*Gender binary is not an ideal term, though it’s used widely. We don’t live in a gender binary — that suggests two categories which are equal. We live with gender isomorphism, in which there are ‘men’ and ‘failed men’.
Potter’s concept was a hard sell — publisher Norman Warne (about to become her fiancé) couldn’t see the appeal but he must’ve conceded he wasn’t a girl himself so Beatrix would know better, and Beatrix won (as she often did).
But Beatrix was wrong about the appeal of Lucie. Everyone who sets out to write ‘boy books’ and ‘girl books’ is always completely wrong, of course. Lucie didn’t garner much of an audience at all — everyone preferred the character of Mrs. Tiggy-Winkle.
Norman hadn’t been keen on a ‘hedgehog book’, either. He didn’t think dirty hedgehogs would appeal to kids — probably because they’re not fluffy. (The spines are modified hairs, Norman.) Perhaps it was Mrs. Tiggy-Winkle herself who paved the way for an entire raft of animal children’s books featuring non-cute creatures. Now we see reptiles, naked mole rats, fish, likeable insects and almost anything you can think of in picture books. Continue reading “Mrs Tiggy-Winkle by Beatrix Potter”
Beatrix Potter was already popular by the time she published The Tale of Timmy Tiptoes (1911). The introduction to our 110th anniversary copy says the tale was created specifically to appeal to a new, American audience, with the inclusion of chipmunks.
Unfortunately, Beatrix had never seen a chipmunk in real life. She must have relied upon photos when illustrating the chipmunks, but good reference photos wouldn’t have been easy to come by in England at the time. Continue reading “The Tale of Timmy Tiptoes by Beatrix Potter”
The Tale of Squirrel Nutkin (1903) is the second picture book written and illustrated by Beatrix Potter. Squirrel Nutkin is an example of a story from the First Age of Children’s Literature, though Beatrix Potter herself did much to usher in the more modern style of children’s story.
Though the page turns and small size of the book are a vital component of the reading experience, you can read The Tale of Squirrel Nutkin at Project Gutenberg, as Beatrix Potter’s work is now in the public domain.
When you think of Beatrix Potter, you probably think of ‘talking animal’ stories. A while back I quoted a taxonomy of animal-ness in (mostly) children’s literature. We have humans in animal-shaped bodies at the top and outright ordinary animals at the bottom. (Or inversed, if you like.)
The Tale of Squirrel Nutkin is interesting in its inclusion of three different levels of animal-ness in the one story:
- The squirrels, who can talk (riddles) and who are basically children in the bodies of squirrels. Unlike Peter Rabbit in his little blue jacket, these squirrels are not wearing clothes, but they do use their bushy tails as sails for their log boats, which elevates them into the human realm.
- Then there’s their opponent, the owl, who never replies to the prancing and taunting. It becomes clearer and clearer to the reader over the course of the story that the owl perhaps can’t talk, even if he wanted to, because he is a plain old owl! He does live in a ‘house’ (a tree) with a door and he cooks his meat (presumably) because smoke comes out of his ‘chimney’. But apart from these human attributes, the possibility that he might eat the squirrels if he’s going to eat a mole is terrifying, because the squirrels have been making meaty offerings, all the while failing to realise that they themselves are meat.
- And the offerings, of course, are the most animalistic of the characters, not the least bit personified. Indeed they are meat rather than animals–the three fat mice, the fine fat mole, seven fat minnows and so on.
THE DANGEROUS STORYWORLD OF SQUIRREL NUTKIN
Unlike Dahl’s Matilda, Nutkin presents outlaw behavior as opposed to promoting outlaw behavior. Unlike Sendak’s Wild Things, Nutkin’s wild revels are no wild rumpus where the border between the fond and the fierce is terrifyingly blurred: “We’ll eat you up—we love you so!” This is not the world of Beatrix Potter, but this is not to say her world is safe. The thing that all three have in common is danger, and it is the thing that makes their stories delightful for children, for childhood is the most dangerous thing in the world. For all of her whimsy, Beatrix Potter never lost sight of reality, even its tensions and terrors. Peter Rabbit’s father was put in a pie by Mrs. McGregor. Jemima Puddle-Duck’s eggs were devoured by her canine rescuers. Squirrel Nutkin was mutilated by Old Mr. Brown. The world of Beatrix Potter is the real world: moral, but not moralistic; a world of pursuit and prey, of dangers and delights, of existence and enchantment.