The Little Golden Books series was launched in 1942, just as the second world war ended. Children needed to hunker down with cosy stories (along with their parents). Scuff The Tugboat was one of the earlier publications of this highly successful franchise, first printed in 1946, and the epitome of ‘cosy’. Now you can buy an edition with a big 75th Birthday Celebrations on the front.
Do you like the idea of river fishing, without the annoying realities? One option is an afternoon plumped in front of Deliverance, starring the late Burt Reynolds. Another option is Annie Proulx’s short story “The Wer-Trout”, included in her Heart Songs collection of the late 1990s, though first published 1982. You won’t know what to expect from this one, as Proulx’s short stories can be darkly humorous or downright dark, and you might think you’re in for a Wallace and Gromit Wer-Rabbit experience. Be forewarned, this is one of the dark ones, with a little humour to make it even darker.
I’m also reminded of The Homesman,with the psychotic episode of a woman who’s stuck in the middle of nowhere with no social support (and past the point where she can seek it out herself). I’m reminded also a short story by Keri Hulme from her Te Kaihau collection, “King Bait“, which is more clearly magical realism. The magical realism in Proulx’s story could be interpreted as character invention, or part of a tall tale. The tall tale is a strong part of masculine, living-in-the-wild tradition — that’s probably where the genre was birthed.
This story is written in present tense. An interesting exercise is to look at why Proulx wrote some of these stories in past tense and a few in present. I believe it’s because “The Wer-Trout” has an element of build-up, as in a traditional supernatural tale, and the present tense is good for maintaining a suspenseful tone.
“The Wer-Trout” makes an excellent mentor text if you’re writing:
Two characters (or couples) living different but parallel lives
Creating suspenseful atmosphere
Writing a story with magical realism elements but which is nevertheless grounded in realism
Writing a character who is living in denial, pretending he doesn’t care, when his Self-revelation is that he actually does.
Deliverance is a 1972 movie based on the 1970 novel by James Dickey. Watch it in 2017 and it could have been made this year. The river setting, the timeless costuming, the themes and the film-making techniques have not dated. In fact, Deliverance continues to influence film to this day, including an homage in Carrie (the image of the floating hand), and the obvious influence on the 2017 film Jungle, starring Daniel Radcliffe. Deliverance is impressive when considering this was shot before CGI. Actors put their lives at risk on this river, and didn’t come away unscathed. When playing dead, actors were either drunk or trained themselves to hold their breath and not blink for two minutes. Jon Voight really did scale that cliff, but with a harness that had to be kept out of the shot. When the boat breaks in two, that was thanks to a complex pulley system set up under the water.
The budget for Deliverance was very tight. Director John Boorman dropped the composer and went instead with the same banjo music utilised across the entire movie, functioning as a very simple soundtrack. Budget constraints lead to a very pared down movie, but this simplicity is what makes the film so good in the end.
These symbolic archetypes are very old. The earliest written record we have is often in fairy tales.
Light vs. Darkness
Light usually suggests hope, renewal, or intellectual illumination. Darkness implies the unknown, ignorance, or despair.
Pure black is rare in children’s illustration but Jon Klassen makes use of matte black in The Dark, which is about a young boy’s fear of the symbolic house at night.
In general, Jon Klassen makes much use of shadows to subtly frame the focal points of his illustrations. This is a technique reminiscent of 1960s illustration, found in animation such as 101 Dalmatians. Below, a scene from 101 Dalmatians contrasts blues (darks) against pinks (warm and light), and the flame from a fireplace casts a frame within a frame as our villain creeps towards the door. Continue reading “Symbolic Archetypes In Children’s Stories”
There are historical notes in the back of The River Between Us but unless you’ve been through the American education system and already know quite a bit about the Civil War and the history of New Orleans, I’d recommend flipping to that first.
July 1916 is the wrapper time
Starts in St Louis, South Illinois. The family lives on Maryland Avenue in the West End. See: Maryland Avenue today. (Peck tends to center his stories in Illinois, and most often in Southern Illinois.)
Cars are a big deal to a young boy because unlike today you don’t see them any old where. “It was a big thing to drive a car out of town.” They’re not yet very reliable so preparation for a long trip is important. For example, cracking a raw egg into the radiator so it would hard-boil and seal any leaks. Fuel is to be strapped onto the car itself because there aren’t many fuel stations around yet. Only the upper middle class can afford them (hence the narrator is the son of a doctor). You have to crank it up and the windshield isn’t up for city driving. There are a lot of flat tyres — four in one day is not unusual.
Baseball is important. The local team is called The Browns (and was only later the Baltimore Orioles).
World War I is raging across Europe. Americans know it’s just a matter of time before they get caught up in it. They anticipate restrictions on travel once that happens.
‘The War’ just as often refers to the Civil War
Grand Tower is a ghost town. There never was much to it but showed some progress after the Civil War, with a saddle factor, cigar plant, gun shops, brick works. There’s a hill called Devil’s Backbone. (These days it’s a park.)
The grandparents’ house is like going back in time, with the metonym of a black iron range standing for the earlier era.