This was fun. ‘So You Think You’ve Got It Bad? A Kid’s Life In Ancient Greece’ isn’t the pithiest of titles (and indeed, a structure paralleled by others in the series such as So You Think You’ve Got It Bad? A Kid’s Life in Ancient Egypt) but it is a rather pithy and well-told piece of non-fiction. What’s really interesting is that this comes from a partnership between Nosy Crow and the British Museum and clearly draws upon some of the themes, objects and knowledge of that institution. It’s easy for books of this nature to become simple ‘let me pay you some money and whack my brand on the front of it’ exercises, but I suspect that this is something that wouldn’t ever happen in the Nosy Crow stable. Their books always have a really nice sense of quality and pride about them, and this is no exception.
And so to content –
Covering topics such as ‘The Home’, ‘Diet’ and ‘Fun And Games’, A Kid’s Life In Ancient Greek works through societal rules and expectations for children. I was pleased to see it include a section on ‘Life As A Spartan’ which quite tactfully introduces the hardship of this experience, and I also loved how each section had colour coded page edges – it’s the little notes like this that bind the experience together.
Tonally, it’s more reminiscent of all the all-devouring Horrible Histories series though it does shy away from full on pastiche (which is a good thing!). Instead Strathie takes a lot of pleasure in exploring history from a contemporary perspective and embracing the humour that comes from this: “In Greek Pictures warriors were sometimes depicted with no clothes on. Nakedness was a symbol of bravery in Greek art. It is not a symbol of bravery nowadays. We repeat, it is NOT a symbol of bravery nowadays.” It’s perhaps not the most historical ‘tone’ one might expect, but he does work a lot of information into this, and neatly too.
I loved discovering Marisa Morea’s illustrations. She’s got a very gentle sense of line and colour, embracing that kind of contemporary, natural edge to her work, and as such makes it all very relateable. There’s a substantial mixture of skin-tones and body shapes represented, which is something very lovely to see.
My only concerns with the volume were that I’d have welcomed more being done with the endpapers (particularly as ancient Greek art is so rich with this sort of thing), and the glossary could have done with a little more relationship to the text itself – it felt a little disjointed. Other than that, this is a smart and solid endeavour.
I’ve recently been revisiting The Bunker Diary by Kevin Brooks. Much of the prompt for this comes from a class I’ll be teaching in a couple of weeks about writing young adult fiction, though I admit a part of me was interested to see how it felt reading this complex, challenging book from a fresh perspective. When I first read it, I didn’t quite know how I felt about it; but I knew it had made me think.
In the time between that review and this, I moved back into academia and my thoughts have become increasingly concerned with two distinct things: that is to say the representation of the female body, and the representation of power in children’s and young adult literature. I tend to lean towards the younger end of the market, in my reading, theory and creative work, and have recently had a project accepted to look at the representation of the preadolescent female body in children’s literature (but more of that anon). For now, it’s worthwhile wedding that idea of ‘power’ and ‘body’ with The Bunker Diary as I think there’s something interesting there – and something that reflects on the state of play in children’s and young adult literature today.
There’s something rather appealing about a book that displays its intent so clearly. Charlie Changes Into A Chicken gives you everything from page one, and continues to do that on every page that follows. It’s determinedly readable (seriously the drive behind this is almost palpable), full of direct address to the reader and some very funny moments. Charlie McGuffin (the layers of meaning in THAT surname…) has developed a curious talent. At times of great personal stress, he turns into an animal – and for somebody who has a beloved brother in hospital, panicking parents, and a school bully on his tail, that’s a lot to deal with.
The first of a series, and Copeland’s debut, Charlie Changes Into A Chicken is, as I say, a determined book. I like that sort of a feel to something; this wants to be read, and doesn’t want to let its readers go without a fight. Copeland embraces every technique at his disposal to keep his readers, and it’s very nicely done. Confidently, too, and that’s something that says a lot about Copeland’s knowledge and belief in his fictional creation. It’s also very funny.
Paired with Sarah Horne’s fiercely dynamic illustration, it’s a potent mix. Horne has a lovely sense of movement and dynamism to her lines; there’s not one instance of her artwork that doesn’t push right to the edge of the page.
You’re Not A Proper Pirate, Sidney Green! is a lot of fun. I can’t imagine things not looking up after a read of this. It really is genuine, exuberant, ‘drop it all at once and have an adventure’ fun. Written by Ruth Quayle, and illustrated by Deborah Allwright, it tells the story of Sidney Green and his dog Jemima who go on adventures – but, according to Captain Shipshape and his pirate crew, Sidney and Jemima should be more concerned with being a Proper Pirate. Right now!
I always think it’s a good sign if a picture book embraces rhythm. It’s so important to understand that these books are not about being just seen – they’re about being heard. You’re Not A Proper Pirate has some delightful refrains, but also some lovely use of repetition. It’s about using all the tricks of your trade to build readers and Quayle works her story to the max to do this. It’s great. It’s also a visual treat. Some of the spreads are busy, but there’s a nice internal logic to them. You can find and work out what’s happening, and much of the credit for that must go to Allwright. She handles a spread well, and the scenes where they go to space are lovely. (Pirates in space, yep). Finally, it’s worthwhile mentioning that – as ever with Nosy Crow – You’re Not A Proper Pirate depicts a wide range of skin colours and genders. This quiet representation is something Nosy Crow books really do excel at.
I do grant that there’s a leap to be made about accepting the presence of a pirate in your local neighbourhood, let alone one who’s concerned for the pirate education of the local youth, but make the leap. Come on. It’s better if you do. This isn’t about pirates at all; it’s rather about finding adventure and imagination in the everyday – and giving yourself permission to be part of that. It’s a great lesson to learn. It’s also a pretty damn great one for adults to be reminded of as well.
It’s the little details about this book that make me happy. The idea of a month-by-month review of the year is no new one within the world of children’s publishing. I recently have been spending several very happy hours with similar titles from the fifties, that show children how to press flowers and make pinhole cameras, and a more modern version of these books is a great and lovely thing. And as ever with Nosy Crow, it’s produced with an absolute finesse that makes the book nerd inside me very satisfied. The book has rounded edges (perfect for stuffing in a rucksack and not getting damaged), and a little ribbon (and books with ribbon are always welcome in the world), and it’s sturdily and robustly put together. This is a book that wants to be used, and should be.
Published in collaboration with The National Trust, this almanac wears its affiliation lightly. It’s not asking children to visit their nearest stately home which was something I wondered about (it’s always a worry in content of this nature). Rather the book works towards a different goal where children of all ethnicities, genders and background work to enjoy the wild world. The artwork is lovely; round and rich and stylised, and full of fun. This is the work of Elly Jahnz who’s done something very beautiful here. It’s hard to make, say, a seashell collectors guide a particularly dynamic spread, but she manages to do so. Working alongside Anna Wilson who wrote this, the two of them produce something kind of delightful. And nice. More books should be nice and talk about everything from making April Fool to how to go wild swimming.
I’m reviewing this towards the end of January for a deliberate reason. It’s about this time that the post-Christmas blues hit in. Everyone’s back at school, back at work, and the weather isn’t perhaps the best. Perhaps it’s even snowing a little bit (she says, with a look at the camera and a gesture outside her window). Books like this offer a way to navigate those blues and to pull the outside in, and to do so as a family. They deserve a spotlight of their very own.
Endlessly beautiful, in that way that only Hilary McKay can be, The Skylarks War is perfect. I thought it might be on page ninety-seven, and then when I finished it and let out a great gasping sob at that ending, I knew it was. This is rich, wild and lovely storytelling, and reading it is like reading something you have known your entire life. I wonder sometimes at how McKay can do this, and then I realise that I don’t need to wonder. I simply need to be glad that she can, and does, and that books like this are in the world.
It’s a big book as well, this, it doesn’t shy away from some hard and precise horrors in the world whether they are familial, and of individuals who do not know how to love their children or indeed, whether they can, or bigger, made of people fighting and dying in landscapes far away from home. This is World War One, and McKay does not shy away from its great and dark horrors. Some of her writing here is some of her best, I think, encompassing a curious mixture of numbness and truth and sadness and fear and honesty that makes the pages feel almost like a primary source. That they’re written from that time, from that space, from that darkness.
I am concious that I’ve not told you much about the book itself, and in a way I’m not sorry. I want you to feel the texture of it, that great depth that gives you so much in a single sentence, and does so in a way that only McKay can do. This is deep storying, and it is done in such an unafraid and simple and matter-of-fact way that makes it something else. It is a coming of age story. It is a story of family. It is a story about growing up and figuring out who you are in the world. It is a story about figuring out what the world will let you be.
But most of all, I think this is a story about love. Love for family, love for friends, love for each other, and a love of those summers where nothing is impossible. Love that brings pain and love that brings strength, love that brings hope and understanding and heartbreak and joy. Love that is love and love that is given freely, hopefully, tenderly, painfully. Love, love, love. Always love.
The Harriet of Harriet Takes The Field is Lady North and for some reason or another, she’s been lumbered with some ungrateful Guides. Inevitably she manages to turn things around, and they soon worship her in a rather Angela Brazil-esque fashion. Yet Christian manages to shy away from simplistic narratives of hero worship, and instead delivers something complex, deeply political and rather radical. It’s not often you have people discussing how women give birth in a 1940s children’s book for example. Of course the detail is skirted around, but the discussion is present. It’s such a radical, bold move.
These moments of radicalism persist throughout the book. As the war progresses about them, Harriet and her girls become increasingly present participants in a narrative of war and strife. Though much of it remains distant, Harriet herself suffers from the stress and is called up. Again, a lot of this happens off screen, but the effect of it is very much within the text. She’s moved to tears by a child confessing that he wasn’t alive during the last war; she talks to the girls about how to find security within themselves when all is lost, and the suffering of those in mainland Europe is foregrounded to a heartbreaking extent. England must survive, and everyone must do their part.
Much of this is directed towards the reader, and some of it has dated. That’s a caveat you must always apply to books of this nature, but equally you have to recognise those moments when it does something rather brilliant and rather utterly wonderful. There’s a lot of Harriet Takes The Field that slightly misses the moment, but every now and then it gets it. It really, really does. Take the below quote where Harriet muses on the teenagers that she knows:
“They’ve been fine,” she thought, “Fine, all of them. It isn’t for my generation to be proud of them. We’ve thrown our dice and lost. We had twenty years to build a wall against the floods, and we failed. Now these youngsters are fighting knee to knee and shoulder to shoulder with us to save what can be saved. It isn’t for us to condescend to our peers.”