Review: Operation Bunny by Sally Gardner

Image: amazon.co.uk

I'm a big fan on Sally Gardner, author of I, Coriander and many other fantastic picture books and novels for children. Her books are inventive and often use fairy tale with powerful effect.

Operation Bunny starts with the discovery of a baby in a hatbox at Stansted Airport in Essex, just outside London. The little girl is named Emily Vole and is adopted by the narcissistic Daisy Dashwood and her husband Ronald. Emily is treated more like a doll than a child until Daisy has triplets of her own, at which point 5 year old Emily is moved from her opulent pink bedroom to sleep on the ironing board in the laundry room and forced to become a servant, looking after the house and babies.

Emily's life would be very miserable if she wasn't befriended by Miss String, the next door neighbour much despised by the Dashwoods, and her giant talking cat. Before long Emily discovers that she has inherited a magical shop and must defeat a fairy-hating witch whose magic lamp turns humans into pink bunnies, with the help from the cat, a fairy policeman and a grumpy detective called Buster.

In the press release from Orion, this enchanting book is compared to Roald Dahl. I'd say that apart from the Dashwoods, who are similar to the Wormwoods in Matilda, it reminds me more of Eva Ibbotson's books for younger readers. I loved it, and can't wait for the next one! It would be devoured by 7+ as an independent read, and 6+ as a bed time story.

My one quibble is that I felt the authorial disapproval of the Dashwoods very strongly (although Daisy does get to redeem herself) and it makes me a little uncomfortable in the way that Dahl's disapproval of "common" parents does. However, the Cinderella aspects of the story clearly need a weak father and unkind mother, and the pantomime tone makes it funny.

I am very grateful to the publishers for sending me this lovely book, but the review is my honest opinion.

Diversity in fantasy fiction 2: Huntress by Malinda Lo

Recently, a representative from gay rights organisation Stonewall came to my University to talk to my teaching students about combating homophobic bullying.

Homosexuality was only decriminalised the year before I was born, and the whole time I was teaching in schools Section 28 of the Local Government Act 1988 was in place. As a teacher it was illegal for me to "promote homosexuality" or to "promote the acceptability of homosexuality as a pretended family unit". The viciousness of this wording made it very difficult for teachers to challenge homophobic language, bullying or exclusion of children in schools due to their perceived sexuality or the real or perceived sexuality of parents or family members. I could not, for example, have imagery of successful, happy gay people in my classroom the way I could of people of different religious or cultural backgrounds. I taught children who had gay parents or siblings and children who were quite clear that they were gay (and one boy who was insistent that he was going to grow up to be a girl) and as a young teacher it was very challenging for me that I couldn't reflect their lives in my classroom. As I became more senior and confident as a teacher, I did more to actively challenge gender stereotyping and "heteronormativity" (clumsy and awful word!) by reading stories such as Babette Cole's Prince Cinders and Anne Fine's Bill's New Frock.

Thankfully, Section 28 was repealed in 2003, but sadly some teachers still worry about the legality of challenging homophobic language and bullying in schools- under the 2010 Equalities Act teachers in fact have a duty to do so. Stonewall have some fantastic age appropriate resources (their primary resources are all about different images of families), and they have some brilliant booklists for primary classrooms.

Image: malindalo.com

Inspired by the Stonewall presentation I sought out Malinda Lo's Huntress. In a fantasy world where fairies and humans have lived alongside each other in truce for centuries, something is wrong. There has been no summer for years, crops are failing, there is hunger and discontent in the land, and there are tales of strange creatures in the Forest.

In the iron fortress of the sages, Taisin, a trainee sage, has had a vision. As a result, she and another trainee, Kaede, must travel with a small band to the land of the fairies to ask the Fairy Queen to bring back the Sun. But first they must go through the Forest, where dangers in the shape of strange creatures but also malignant magic lurk. Can Kaede and Taisin fight the feelings that they are developing for each other? and what does Taisin's vision of Kaede travelling alone to face danger mean?

This is a wonderful fantasy book, with Chinese mythological background- as I've said before, I believe that it is vitally important that young people see themselves in the books that they read. I found the relationship between Taisin and Kaede really positive: the difficulty in their relationship is not that they are two girls, but because Kaede's wealthy family want her to marry for political reasons, and Taisin must be celibate to be a sage. It's great that being a lesbian is not remarkable in their world, and I think that this would be a very positive message for any young person reading this book, whether they were gay or not. There is passionate kissing, but no explicit sex in this book. My one criticism is that there's an awful lot of crying. I'd have liked Kaede and Taisin to have had some laughter and happiness! Recommended to young adult readers of 12+.

Here's Rob Bryden reading another great Babette Cole fairy tale, Princess Smartypants.

Scary Fairies and Borrowers



source: totalfilm.com

 Just before I went on holiday I made my second-ever solo cinema visit to see Studio Ghibli's adaptation of Mary Norton's The Borrowers, Arrietty. Watch the trailer here. It is a beautifully animated film, which takes its time telling the story and lacks the manipulative cuteness and knowingness of recent US animation such as Hop. The film tells the story of the book fairly closely, although it is updated; the book, published in 1952, opens with an old lady telling a little girl a story from her childhood, which we can assume was pre- World War 1. In Arrietty, the story is set in contemporary Japan. A boy, Sho (he is unnamed in the book) comes to live with his aunt. He sees a cat chasing something; he investigates and catches a glimpse of a tiny girl collecting leaves. This works well in the context of the film, as it demonstrates Arrietty's adventurous nature without having to tell us about it. The characters are essentially the same: the Borrowers, Pod, Homily and Arrietty Clock, the great aunt, the cook and the boy, although in the book the great aunt is a very elderly lady who spends most of her time in bed, enjoying glasses of Fine Old Pale Madeira. It is down to her befuddled state that Pod is able to borrow from her.

The terrible tedium of Arrietty's life before she meets the Boy is shown rather comically, I felt, in her excitement at washing day when she can go and hang the washing out by the grating. Her mother Homily in the film is more comical and loveable than the fretful, nagging and fearful character she is in the book. Arrietty's shock at the discovery that, instead of the rare creatures she assumes, "human beans" are in fact numerous and Borrowers are rare is shown in a powerful and affecting moment of stillness.

A big difference (and this is inevitable) is the lack of the framing device of the old woman narrating the tale to the little girl, and an unreliable narrator telling us about that: we are told very firmly that the little girl is not the "me" sitting and listening to the story, and this emphasises the uncertainty at the end of the book, when Mrs May isn't certain that her brother hasn't been making up the story all along (we're told he is very imaginative), since the handwriting in Arrietty's Book of Memoranda is so similar to his.

Source: waterstones.com

Michelle Harrison's The Thirteen Treasures reminds me strongly of The Borrowers, although the relationship between fairies and Tanya is not the generally benignly symbiotic one between the Clock family and the Human Beans; these fairies are malevolent, jealous and threatening. Like the Boy in The Borrowers, Tanya is sent to live with an elderly relative (this time her distant and seemingly unloving grandmother) in a remote country house. Tanya has a secret: she can see fairies. And they can see her. They torment and threaten her, and she is blamed for the damage they do to her possessions and house. Her mother can't cope any longer, so she is taken to live with her grandmother in Elvesden House in Essex. However, there is also a secret connected to this house, involving the mysterious disappearance of a young girl many years before, and if Tanya and Fabian, the caretaker's son, don't solve the mystery, there is a danger that history may repeat itself.

I would recommend the film to 6 year olds+; it isn't scary, but it may not hold the attention of younger children. I would suggest reading The Borrowers to 7+. It isn't a long book by modern standards but the narrative is quite complex; advanced readers 8+ should love reading it themselves. The Thirteen Treasures is a fantastic book for confident readers of 9+.