The Nightfish is an Australian picture book written and illustrated by Helen McCosker. Published in 2006, this children’s story makes a good counterpoint to There’s A Sea In My Bedroom (1984). In Margaret Wild’s 1984 story, a boy takes a shell home with him from the beach and — as a child of the eighties I can tell you — no one thought twice about taking souvenirs from nature. Our current generation of children are more environmentally aware. Now they have at least bumped up against the idea of ‘Take nothing but photos, leave nothing but footprints’. This change of societal attitude is reflected in their picture books: If you take something from nature you must return it, otherwise you’ll upset the environmental balance and all hell will break loose.
There’s A Sea In My Bedroom (1984) is a classic Australian picture book, written by Margaret Wild and illustrated in realistic fantasy style by Jane Tanner.
Margaret Wild is a well-known Australian author whose subject material ranches from melancholic to funny. I have previously blogged about Harry and Hopper and Chatterbox. Jane Tanner is also a well-known Australian illustrator, and also a writer and editor.
STORYWORLD OF THERE’S A SEA IN MY BEDROOM
When the sea/ocean is used in narrative, it’s worth making a clear distinction between the surface and the depths, because these are two very different arenas.
There’s A Sea In My Bedroom sticks firmly to the ocean surface. Wait until* David gets seaweed — or worse — tangled around his ankles, and steps on a blue bottle. Then he might get a bit suspicious about what the sea really is all about… but best to stick to paddling for now.
*David probably turned 40 this year, if he was six in the pictures.
STORY STRUCTURE OF THERE’S A SEA IN MY BEDROOM
David was frightened of the sea.
It’s right there in the opening sentence. Some advocate ‘showing not telling’ but in a picture book for very young readers, you often get both. First we’re told, then we’re shown. The image of the rough sea — and nothing else — is really quite scary actually.
Because this is a picture book, and you’ll have read plenty of picture books if you’re here at this blog, you will know from the very first line that this is a story about overcoming one’s fear of the sea.
An aversion to the sea is not in itself a desire, so Margaret Wild is sure to put something in that he’d rather be doing instead. David loves to collect shells, and he is quite happy doing this.
Tip for picture book authors: If your main character is afraid of something, give them a proxy desire, not directly related to the aversion. This will help the reader to feel like this is a complete and rounded story. But it does more than that: It lets us know that this is not a wholly pathetic character.
You could argue that the father is David’s opponent. Dad gives David the conch shell and tells him — cruelly! — that the sea can be heard inside the shell. David then takes the shell home, and his greatest fear is inside his bedroom now.
At home in his room, alone with the ‘magical’ shell, David goes on a carnivalesque adventure into a sea which invades his bedroom and fills it up. But this is not a scary situation, this is fun.
The proxy for the Battle scene is when his parents come in to find him writhing around on the carpet, in some sort of imaginary play. I suspect the young reader might expect a telling-off, because presumably David is meant to be in bed trying to get some sleep.
A soft growly, friendly sea.
When David explains to his parents that the imaginary sea was friendly, he can transfer that positive emotion to the real sea.
Now David is able to enjoy swimming at the beach as well as collecting shells. He has learned that the sea is friendly.
(I’d argue that the sea is not particularly friendly in Australia, but that message is not helpful in a picture book.)
COMPARE AND CONTRAST
Where The Wild Things Are is the archetypal picture book about a boy who goes on an imaginary adventure at sea, though this one starts at the beach and ends there, too. And There’s A Sea In My Bedroom is designed to help children overcome a very specific fear, whereas Wild Things is more a mood piece about bad feelings in general. We don’t even know what it is exactly that leaves Max in such a bad mood.
The Polar Express also makes use of the trope in which a child returns from an imaginary (not imaginary) adventure to find evidence of the trip in the form of something material. I’m not a fan of this trope, because I feel intuitively that it encourages magical thinking. (There’s a line between enjoying magical fiction and actively discouraging reason.) In There’s A Sea In My Bedroom, the talisman is a small pile of sand, which works really well for a reader like me, because the sand probably came out of the shell, or his shoe or wherever. There’s absolutely a real storyworld reason for a pile of sand to be in his bedroom. A young reader can be helped to understand that, too, unlike in The Polar Express.
“King Bait” is a short story by Keri Hulme, author of The Bone People, which won the Booker Prize. The setting is a magical realist New Zealand. “King Bait” is a good mentor text:
- If writing in the oral tradition, inspired by the tall tale
- If writing a story with supernatural elements in which the characters never understand the whys and wherefores of the phenomenon. (There’s an unwritten rule about telling such stories — read on for more.)
- A good example of a short story which links opening sentence to final sentence, creating circularity and a sense of a conclusion.
The story of Helen Palmer is — from the outside, certainly — a sad one.
Helen is ‘the woman behind the man’ in the Dr Seuss duo. It was Helen who encouraged her husband Theo to start writing picture books.
When the marriage ended and Theo embarked upon a second relationship, Helen suicided. It would be nice to think that her separation from Theo had nothing to do with it, because had been dealing with cancer for a long time. But the truth is, she left a note. So we know that had almost everything to do with the timing of it.
Helen was a much better editor than she was a writer, which I’d like to emphasise is no small skill in itself. (Roald Dahl’s editors, for example, had a MUCH bigger hand in making him look great than most people realise.)
The book A Fish Out Of Water is a story that Theo cast aside. He didn’t think it worked. Helen disagreed and made sure it was seen by the world. It’s still reasonably easy to get a hold of. I somehow ended up with two secondhand copies on my bookshelf, for instance. This is possibly a sign that it’s a picture book people decide not to keep.
If this had Dr Seuss’s name on the cover I would certainly agree that this is not him at his finest. I agree with him that it doesn’t work. Let’s take a closer look to try and find out precisely why it doesn’t work, and why Helen thought it still had merit.
The illustrations, by P.D. Eastman are as attractive as those done by Theo himself, if without the distinctive colour palette, so it must have something to do with the text or the plot. First, the plot:
A boy needs something to nurture and he is the sort of kid who does what he’s told not to do.
He needs to learn to be obedient.
A boy wants a goldfish. Not only that, he wants to nurture the fish.
So far so good. This is all established on the first couple of pages.
This is a carnivalesque story, so the opponents are the circumstances themselves. The fish getting huge.
Again, so far, so good. It’s common and usually very successful to write a children’s book about something either very big or very small. The young reader enjoys seeing this fish getting bigger and bigger, and can probably predict that it will end up in the swimming pool, or perhaps the ocean.
Unfortunately this is where the plot starts to unravel. The boy can’t solve this on his own — first he calls the police. This is kind of comical in itself because the police are depicted as being right on the end of the phone waiting for his call, and it is clear that they deal with the overfeeding of giant fish on a regular basis.
The problem with putting the fish into the pool is that the swimmers don’t like it, so the boy’s plan changes and he is forced to call the man who sold him the fish.
It’s never ideal to have adults step in and save the day. Not in a children’s book. Even if an adult technically saves the day, the child hero must show more initiative.
The ‘battle’ in a carnivalesque book is a sequence of increasingly dire situations, and these keep going until the writer’s imagination is at a limit. Preferably, in the most successful stories of this type, the writer is able to go one or two steps further than the reader’s imagination. A great example of this is Stuck by Oliver Jeffers. Just when you think nothing more could happen, it does. This is where the surprise comes in, and carnivalesque stories in particular are all about fun and surprise.
There is no surprise here. All of us could imagine a giant fish being taken to the town swimming pool, and in fact I expected the fish to end up in the ocean.
The battle sequence does not surprise us enough.
This is where the book really fails.
The writer cheats. We see the fish seller dive into the pool and do something to the fish. The fish becomes small again. The boy (and reader) is told to not ask what was done.
This is the wrong way of using magic in stories. The audience must know the basic rules of the magic even though magic, by its very nature, is mysterious.
The boy takes the fish back home and will never feed it too much again.
In the end, this is a moralistic tale about the common childhood tendency to overfeed fish in bowls.
The scansion and rhyme of this story is not up to the same standard as Theo’s other books. This is clear from the very first page:
“This little fish,”
I said to Mr Carp,
“I want him.
I like him.
And he likes me.
I will call him Otto.”
Reading that, you get the feeling it should rhyme but doesn’t quite. Overleaf, we do have some rhyme:
“When you feed a fish,
never feed him a lot.
So much and no more!
Never more than a spot!
This is why, when writing a picture book, decide whether you want it to rhyme or not and then stick with your decision.
In conclusion, Theodor Geisel put this book aside for good reason. But I’m glad it exists, as a lesson in what doesn’t work, and also to know that even the masters like Dr Seuss didn’t write a winner every single time.
Hayao Miyazaki’s Ponyo is a feature-length anime which makes heavy use of myth and symbolism but is aimed squarely at a young child audience.
I love the kanji for cliff because it actually looks like what it is.
Dani Cavallaro, in Magic as Metaphor in Anime: A Critical Study describes Ponyo as ‘an intimate bildungsroman’ and writes:
Sousuke’s developmental journey begins with his rescue of a plucky little goldfish that has run away from her underwater home and is desperately keen on becoming human (presumably unaware that such a status is by no means unproblematically advantageous), whom the boy calls Ponyo, vowing to protect her at any price. At the same time, the anime’s intimate mood is reinforced by its close focus on domestic life and the little boy’s relationship by its close focus on domestic life and the little boy’s relationship with his mother Lisa. The bildungsroman dramatized in Ponyo concentrates concurrently on two interrelated journeys. One of these addresses the human protagonist’s emotional and intellectual development as he negotiates the various complications attendant on his relationships not only with the heroine and the marine domain she comes from but also his caring mother and often absent father. The other focuses on Ponyo’s evolution from the moment she decides to abandon her father’s protected abode and explore the outside world with all its unforeseeable wonders and perils.
Food usually has its own starring role in the setting of Miyazaki movies.
- The feast that turns the parents into pigs in Spirited Away, then the steamed red bean buns and the sponge cake scene
- The bacon and eggs in Howl’s Moving Castle
- Herring pot pie and rice porridge (おかゆ) as well as all the fresh bread products from Kiki’s Delivery Service
- More rice porridge in Princess Mononoke
- Bento boxes from My Neighbour Totoro
- The fried egg in bread (目玉焼きパン) and the winter vegetable stew (煮物) from Laputa
- Fried horse mackerel (アジフライ) from Up On Poppy Hill (nothing to do with horses — it’s a different kind of mackerel)