Sunday, 24 May 2015

What we did for love by Natasha Farrant

What we did for love: resistance, heartbreak, betrayal by Natasha Farrant (Scarlet Voyage, 2014)
Originally published as: The things we did for love (Faber and Faber, 2012)

ISBN 978-1-62324-028-8

3 Parts (February – June 1944); 208 pages

Subjects: World War Two, France, Resistance, young adult fiction (Year 10-13)


(This is the cover of the book I read, but there are several other designs.) 

Synopsis
"A story of love, sacrifice, betrayal and redemption, set against one of the most tragic and devastating episodes of French World War II history. France 1944. 
As war rages in Europe, teenagers Luc and Arianne fall passionately in love.  But German forces are closing in and Luc, desperate to atone for his family's past, is drawn into the dangerous world of the Resistance. Arianne will do almost anything to keep him safe, but someone else is secretly in love with her - someone who will stop at nothing to get rid of his rival..."

That’s taken from Natasha Farrant’s website, where you can also read a sample chapter.

Reviews:
The Bookbag review begins: "There are many kinds of love in this moving story, from family loyalty and friendship to patriotism, but what really preoccupies the two central characters, Arianne and Luc, is the passion and agony of first love."

Kirkus reviews says: "Set against the backdrop of World War II, Farrant’s first for teens... captures the whirlwind of first love and the complications of taking action during a most dangerous time… A worthwhile addition to historical romance that honors one real French town’s tragic and true event.

I think this Guardian review is a good one. It makes some pertinent points about plot, motivation, readership and language, including the dialogue, which I noticed as I read the book. Some of the phrases – like “drop dead gorgeous”, encountered very early on pg 10 - seem too contemporary, and like the reviewer, I didn’t get a feel for any French phrases or patterns of speech.

Author’s website
On her website, Natasha Farrant saysI get very grumpy if I don’t have a good book to read, if I’m not writing, if I’m hungry, tired or don’t get enough exercise.  Otherwise I am a generally cheerful person.”

Things I didn’t know
The final event in this book is based on something that did actually happen. The Afterword explains how “on 10 June 1944, at around 2 o’clock in the afternoon, the 2nd SS Panzer Division Das Reich really did enter the French village of Oradour-sur-Glane and ordered all the inhabitants to assemble on the market square, under the pretext of checking their papers."

The village of Oradour-sur-Glane was situated 22 km north-west of Limoges; you can visit its museum, the Centre de la mémoire, or read more about it online, but it is a sad tale.

Have you read it?
Have you read this book? Let me know what you think!


Tuesday, 5 May 2015

The dolphin crossing by Jill Paton Walsh

The dolphin crossing by Jill Paton Walsh (Macmillan, 1967)

16 chapters; 134 pages

Subjects: World War Two, England, France, Dunkirk, boats, evacuees, junior fiction (Year 5-8)

There are several different covers and this one (Puffin modern classics) is better than some of the others! 


Synopsis
This book was a surprise as I had certainly heard of it and was sure that I had read it as a child, but actually I don’t think I ever did, as it seemed quite new to me.

The story is set in 1940 on England’s South Coast. John, aged 17, has come home from boarding school to keep his mother company as his father is away in the Merchant Navy. His older brother, whom we never meet, is a conscientious objector and has volunteered as a medical orderly in a hospital in Birmingham. The other main character, Pat, is a few years younger, and an evacuee from London; his father is fighting in France, and he and his mother, who is heavily pregnant, have been put up in a ramshackle disused old railway carriage sitting in a farmer’s field.

John has a tutor who is teaching him Latin and Greek in preparation for his exams for Oxford, and his family is obviously well-to-do, although their house has been taken over for use as a hospital and they are living in a smaller cottage in the grounds. Pat comes from a much less privileged background. The differences show in their speech and in the things they each take for granted.  John comes across as quite a “prim” character for a 17 year old; for example, he is shocked that Pat expects him to eat chips out of a newspaper parcel, in public. He is also conflicted over his brother’s decision and finds it hard to defend his choice.

The boys become friends over a project to turn an old stable into more suitable accommodation for Pat’s mother and the baby. When they start to realise what is happening in France – the thousands of Allied soldiers trapped on the beaches of Dunkirk – they hatch a plan to take John’s father’s boat, the Dolphin, across the Channel to help rescue them. Gradually they come to appreciate each other’s strengths - Pat is better at building and practical work, John is better at handling the boat - and in the end they work together as a team.

This isn't a long book; there are very few characters, and some (like Pat’s mother or John’s tutor) are lightly sketched.  After an initial scene of the local school bullies taunting Pat, we hardly ever see any more children or young people.  

The scenes of sailing the boat and the action at Dunkirk are well done and full of tension. The main sticking points for today’s readers are likely to be the vocabulary (words like “Gracious!” and “beastly”) and the dialogue which sometimes feels old fashioned, formal and wooden (for example, John’s father greets him with, “Where the hell do you think you’ve been, sir?”) 

Reviews
goodtoread.org (a parent's guide to children's books) calls it "A short but thoughtful story, focusing on the effect war has on different characters and what courage is about". 

This reviewer also comments on the uninspiring cover design and describes it as "a short book that covers a lot of ground", with a particular focus on class differences. 


One more review here from someone else who (like those mentioned in Questions below) has an issue with the ending. 

Questions
The review on goodtoread.org ends with the line: “The question of whether Pat's final action is bravery or stupidity is left open”. Another reviewer quoted above says the reader has to "decide for themselves whether Pat’s disappearance was an act of heroism or simply schoolboy foolishness."

Bravery or stupidity; heroism or foolishness - what do you think?

Author’s website
Jill Paton Walsh was born Gillian Bliss in London in 1937. She is married to John Rowe Townsend (another author). Her website includes an author interview for young readers, for example, "when did you start to write?" 
  • I'm a late developer. I started only when I was 26. All the other writers I know started sensibly, when they were children. If you are thinking of being a writer, however old or young you are, start now!
There is a very funny article in the Guardian about how her self-published book Knowledge of angels made the Booker shortlist in 1994.

On the back flap is a quotation from Jill Paton Walsh
“This book is an attempt to make a serious picture for young readers of the great experience of their parents’ lives – the last war. That war raised difficult moral questions; disrupted the lives of almost everyone then living; permanently upset the social order of England, and brought out in ordinary people astonishing manifestations of courage and unselfishness. it was not a matter of cheap heroics.
For real heroics are painful and costly. I have tried to show this. The actions of my characters fall far short of the heroism of real life; they are, however, “truthful” in the sense that there really were school-boys who joined the many civilians in ferrying the British army across the Channel. I hope this is also a truthful book in another sense; when real people take real risks, they really get killed.”

Other books you might like
Jill Paton Walsh wrote other books about war, including Fireweed.

The snow goose by Paul Gallico is a haunting tale about the evacuation of Dunkirk.

Things I didn't know
How to make the most of your butter ration! Food rationing was in force and the lack of butter (and inadequacy of margarine) is often mentioned. John dreams of “great slabs of butter, too thick to spread, piled on sticky buns” and prefers to eat his ration all at once: “that way at least I can have enough to taste properly one day a week.” John’s mother spreads a thin scraping of butter on her scone and says, “The Ministry of Food adviser wrote to the paper today saying if you put it in your mouth upside down you can taste it better. Butter side against the tongue.”

Have you read it?
Have you read this book? Let me know what you think!

Sunday, 12 April 2015

Roly the Anzac donkey by Glyn Harper, illustrated by Jenny Cooper

Roly the Anzac donkey by Glyn Harper, illustrated by Jenny Cooper (Puffin, 2015)

ISBN 978-0-14-350663-8

32 pages with Jenny Cooper’s beautiful colour illustrations

Subjects: World War One, Gallipoli, animals, donkeys, Richard Henderson, picture books (Year 2-6)


Synopsis
This is a retelling of Glyn Harper’s 2008 book, The Donkey Man (illustrated by Bruce Potter), which describes the war experience through the eyes of Roly the donkey. This version is bigger than the original and has new artwork by children's illustrator Jenny Cooper. It includes two maps (of the Aegean region and the Gallipoli peninsula) and notes on the Gallipoli campaign and the donkey man himself. A lot of people would assume this to be Simpson, but Glyn Harper tells the story of a New Zealander, Richard Alexander Henderson.

It’s interesting to see how the text has been pared back in the updated version. The main story is still there, but a lot of the background detail has been taken out. I think The donkey man still has value as a text with more detailed information, for older children, but this version makes for a stronger picture book.


About the author
Glyn Harper is professor of war studies at Massey University and the uni website has an interview with him here. There a lovely article about the book launch here.

About the illustrator
You can read about Jenny Cooper and her work on the NZ Book Council and Christchurch City Council websites.  

I liked this comment: "Funnily enough, I don’t particularly like seeing my books after they are printed, because there are so many things I would improve or change. But I keep thinking that the NEXT book will be better."

Other books you might like:
Glyn Harper has also written Le Quesnoy and Jim’s letters, both illustrated by Jenny Cooper. 

Links
You can read more about Private Richard Henderson, New Zealand's own "donkey man" at Gallipoli, here on the RSA site. 

Find out about the true story behind the famous painting of Simpson and the donkey. Moore-Jones painted six versions of this painting and the last one in private hands sold recently for $220,000.

Have you read it?
Have you read this book? Let me know what you think!

Sunday, 5 April 2015

The last Anzac: questions and answers

The last Anzac by Gordon Winch, illustrated by Harriet Bailey

I was lucky enough to attend the launch of this lovely book at The Children's Bookshop, Kilbirnie, in March. You can read my review of the book here, and Harriet has very kindly agreed to answer some questions about the book, how she worked on it and her illustrating style.

The book is a lovely production and it' s interesting to see the Anzac connection (Australian author and publisher / NZ illustrator). How were you approached by New Frontier to take the job on?
Thank you! An editor from New Frontier Publishing sent an email asking if I would be interested in illustrating a picture book for them, and that it would be a ANZAC WW1 Centenary title for 2015. I jumped at the chance to illustrate a heavily referenced story and one based on a soldier who served at Gallipoli.

How would you describe your own illustrating style, and why do you think it lent itself to this project in particular?
I have a range of illustration styles and felt the light and descriptive drawing line was needed to depict the various scenes and peoples expressions. When it got to the colouring stage, the publisher originally wanted all the 1915 scenes to be produced in sepia (brown and white or black and white, as was the photography at the time) in order to have a clear contrast between past and present. I wished to retain full colour to make it visually appealing and descriptive. I wanted the oranges to be a lovely juicy orange! We compromised by having the 1915 scenes set on a darker cream background.

At the launch of "The last Anzac", Ruth Paul made some fascinating comments about how well your illustrations worked to balance, and in some cases extend, the text. She used as examples the sequence showing Alec carrying the water and then spilling it when he jumps into the trench, and also the feet in the hospital beds. How do those ideas develop, and how do you decide what aspects of the story you want to illustrate?
This particular story was light on descriptive detail so I filled it in by reading as many accounts of the war at Gallipoli as I could. Books with collections of photographs of WW1 and men’s stories gave me ideas for the other soldiers that are shown. Soldiers injuries were horrific and of those that survived to be treated in the field hospitals, then the hospital ships and after that make shift hospitals in Greece and Egypt. I wanted to show men recuperating and with their wounds being looked after by ANZAC nurses. The missing limbs are sure to be noticed by children looking at the pictures.

Alec Campbell suffered many illness that kept him from sailing off to France to join the frontline but compared to his fellow patients he didn't have war wounds that were apparent until Bells Palsy appeared and 1/2 of his face became immobile.

As far as telling the story in pictures, “what happen’s next” is the major vehicle for turning pages of a picture book. I really wanted to have a sequence of illustrations to show what Alec Campbell did for the majority of the time: carrying water from the beach to inland for the soldiers who were in fighting in the trenches. Illustrating the effort and the danger of such an essential and appreciated task is the most interesting part of the story for children, I think!

I guess you haven't met the author, Gordon Winch, but do you know much about him?
I read about Gordon Winch online and discovered he has had a long career as a teacher of children and training teachers and has written many engaging and humorous books for children of Australia. 

How did you go about doing the research you needed for the illustrations? (at the launch, you told a lovely story about how you pinpointed the cottage that Alec Campbell lived in.)
It pays to use as many contacts that you have available when it comes to research and it was fortunate that I have a retired Australian uncle who is a whizz at tracing things using historical records. Part of the problem of weighing heavily on the internet for information is being certain that it is accurate. I had thought Alec Campbell was in a rest home at the time of James’ visit, but the publishers assured me he was still living with his wife in her mothers cottage, address unknown.

My Uncle was able to consult Electoral Rolls to hone down on a street number using the information I provided, sourced from historian Jonathan King’s book, Gallipoli: Our Last Man Standing. I used Google Street View to take a reference image of the cottage for the illustration. I like to think I have the correct little humble home where Alec lived!

As I have mentioned there was a lot of research needed to for a historical picture book. To avoid confusion due to the backwards and forwards of time and change in narration, I learnt it was important to keep visual elements limited to that which related to Alec and the story. I made a point of contrasting Alec's two ages: his visibly apparent youth when he went to war and his advanced age that he reached after a life where he achieved so much in Australia.

After Harriet had sent me these answers, I showed the book to my sister who came up with another question - which Harriet kindly answered as well!

Did you know any more about the boy's visit to Alec, and how that came about?
This story is based on a true event with one of the publishers' sons visiting Alec Campbell. New Frontier sent me two photos of father and son sitting with Alec and his wife Kate in their living room. I don’t know how the visit came about. I imagine the boy wrote Alec a letter requesting to visit him in Tasmania. I expect that Alec wished to met this young boy who was so keen to met him and learn about his experience at Gallipoli. 




The last Anzac by Gordon Winch; illustrated by Harriet Bailey

The last Anzac by Gordon Winch; illustrated by Harriet Bailey (New Frontier Publishing, 2015, “with historical advice from the Australian War Memorial”)

ISBN 9781925059298

32 pages, hard cover with beautiful colour illustrations

Subjects: World War One, Gallipoli, Australia, boy soldiers, Alec Campbell, veterans, picture books (Year 2-6)

Synopsis
Alec Campbell enlisted in 1915 when he was only sixteen. He served in Gallipoli but got sick and returned home, a veteran, at the age of seventeen. He died in 2002, aged 103. This is his story, told through the eyes of a young boy called James who went to visit him in the year before Alec died. That’s why this Anzac story starts, unusually, on a plane and then at an airport in Tasmania in 2001.

The endpapers contain facsimiles of wartime letters, postcards and envelopes, including a letter written by Alec (at Gallipoli) to his mother on 5 November 1915.

Reviews:
In Aussie reviews, writer Claire Saxby (Meet the Anzacs) points out that “it’s not easy to share the enormity of a war with young readers” and describes this as “an introduction to WW1 for early primary readers, showing them Gallipoli through the eyes of someone who was there”.

Teachers’ notes include the set of questions drawn up by James and his classmates which he took to ask Alec on Sunday 5 August 2001. Question 16 is What was your greatest moment? and the answer (Eating oranges when we got off Gallipoli) appears in one of my favourite illustrations. Also look out for the beautiful illustration of moonlight over the Aegean – and observant children will pick up on some unspoken details in the spread of the hospital scene.

Questions:
I had a number of questions that I wanted to ask the illustrator, Harriet Bailey and she kindly agreed to answer them. You can read her replies here.

About the author:
Gordon Winch was a teacher for over fifty years and has written a number of books for children. 

About the illustrator:
Harriet Bailey is a designer and illustrator based in Wellington, New Zealand. She began her career as a graphic designer. In 2010, she was the inaugural recipient of The Storylines Gavin Bishop Award and since then has illustrated Hester & Lester (Random House, 2011) and Out of Bed, Fred! (Scholastic, 2011). Both books were named in the Storylines Notable Books List 2012 in the picture book category.

You can see other examples of Harriet's art and design work on her website

Other books you might like:
There are several fictional treatments of boy soldiers, such as My mother's eyes: the story of a boy soldier by Mark Wilson, One boy’s war by Lynn Huggins-Cooper; illustrated by Ian Benfold Haywood and The horses didn’t come home by Pamela Rushby. Charlie and Tommo in Private Peaceful sign up at nearly 16, and the boys in War game are very young as well.

Links
You can find out more about Alec Campbell (nicknamed The Kid by his fellow soldiers, because he was so young and small) here, and here on the Australian War Memorial site, which also has an article about the last veterans from a number of different countries.

Have you read it?
Have you read this book? Let me know what you think!

Tuesday, 24 March 2015

Meet the Anzacs: questions and answers

Meet the Anzacs by Claire Saxby, illustrated by Max Berry

I found this a remarkable and unusual book in several ways: the clear, succinct text, the beautiful illustrations and the fact that it ends with the first landings on April 25 at Anzac Cove, which often serve as the starting point for other books about the Gallipoli campaign.

Claire very kindly agreed to answer some questions about the book for me, and I'm posting them here, along with a review of the book, as we get closer to Anzac Day 2015. 

In fact, Claire was extra kind to answer these questions as I realise now that some of them seem to go on forever, but there were lots of fascinating aspects to this book!


  • The blurb describes this series as "From Ned Kelly to Saint Mary MacKillop; Captain Cook to Douglas Mawson, the Meet ... series of picture books tells the exciting stories of the men and women who have shaped Australia's history."  So for Meet the Anzacs, what kind of brief were you given? How did you decide how you would approach the subject?

The brief for Meet the Anzacs started with an email asking if I'd be interested in writing about this topic. I wasn't sure whether I could write about war as I'd always threatened to hide my three sons in the hills should there be a call to war. That night I tossed and turned and somewhere in the night I realised I knew little about how it all began, from a recruiting, training, transport perspective. The next day I pitched the idea of exploring this time that lead up to the landing at Gallipoli. Then I held my breath. Fortunately Random House liked my idea and the research began.

  • The foreword says: "This is the story of how the ANZAC legend began." I liked the way that you included NZ ("In New Zealand men were doing the same", "the Australians and New Zealanders were beginning to work as a unit") which doesn't always happen. Was that your idea, or part of the brief?
My original submission included references to the cricket games between the Australians and New Zealanders while they were training in Egypt. During the editing process, we developed and extended those references. It seems so obvious really, but I guess most countries focus on their particular experience, even when it is part of a broader event.

  • We've talked about the similarities between our covers (for Meet the Anzacs and Best mates).  These were purely coincidental as the books both came out at the same time, but perhaps express some concept that we were both trying to get across. How much did you have to do with the illustrations (by Max Berry) for the book? He uses some remarkable perspectives, eg the seagulls looking down on the ships. Have you got any favourite illustrations?
It was curious that our books look so similar and were published at the same time. Yes, I agree that it reflects the similar experiences of our soldiers, particularly at Gallipoli, and the power and support of friendship.
I had very little to do with the illustrations, apart from loving the examples of Max's work that I was shown before he began. I love his different perspectives. I have at home the image of the open country where the first training camps were set. Although Max is based in Sydney, to me they symbolise the camp in outer Melbourne where I live. The area that was home to the camp is now completely suburban, and I like the idea that Max has shown how it was.
I do love the bird's eye view of the ships heading towards what we now call Anzac Cove, but my favourite I think, is the final image where a long shot shows ships on the horizon, landing boats on shore, and then after you see all that, you notice there are Turkish soldiers watching from the hills. It still gives me a chill.

  • You made a lot of use of dialogue and that's maybe unusual in a picture book. Did you have particular voices in your head? Did you feel as tho' they were the same people talking, or lots of different people?
Meet the Anzacs is non-fiction but I wanted to include the voice of the people, if that makes sense. Opinions were varied and came from the perspective of potential then enlisted soldiers, mothers and fathers, children as well as from other members of the public. In a picture book, those words had to be brief but hopefully evocative, and direct speech allowed me to include several viewpoints.

  • You've written such a lot! Have you written anything else that has the topic of war, or perhaps peace?
I write quite broadly - perhaps symptomatic of a scattered mind? But I'm interested in so many things and there are so many wonderful stories to be shared. From the scatty lovability of a family pet, to life on a farm, to walking on the beach, I love the ordinary and the stories behind stories. Many of my books are about resilience, reflecting the importance of a sense of self. 
Two new books due out this year are historical, one set in WWII, the other earlier. Meet Weary Dunlop looks at the man behind the legend, and My Name is Lizzie Flynn tells a story of the Rajah Quilt made by convict women on a ship travelling to Australia in 1841. I do like the idea of a book about peace, and now you have me thinking ...

  • The teachers' resource for this book says that you have"… nearly forty books in print with more in production. Her poetry appears in magazines, anthologies, on train walls and in museum resources."Can you tell us where the walls and the museums are?
Unfortunately, our train walls no longer sport poetry. It was an art initiative a few years ago, here in Melbourne, where poetry and images were mounted large on suburban train walls after being exhibited in a gallery. It was such a thrill to catch a train and see poetry there. I loved that I received notice of sightings from all lines on our extensive train network! Melbourne Museum had a Pompeii exhibition and as part of that education resources were developed. My poetry was part of the education pack accessible to students attending the exhibition.

  • Is there anything else you'd like to say about writing the book or its reception?
Meet the Anzacs, in fact the whole Meet ... series is designed to be accessible for readers 7+ and I'm delighted that it is being used widely across primary year levels. When I visit schools, I take hard tack biscuits and Anzac biscuits as well a a wide range of Anzac paraphenalia. 100 years is a long time ago, but it's important to for young people to realise that these were real people trying to live the best lives they could, real parents and siblings and friends, people just like them. 
Random House have also made a book trailer which can be viewed here.
 


  • Thanks again, Claire. It's great to get some of the background to this lovely story, and I'm looking forward to reading your new book, Meet Weary Dunlop. 





Meet the Anzacs by Claire Saxby

Meet the Anzacs by Claire Saxby, illustrated by Max Berry (Random House, 2014)

ISBN 978 0 85798 192 9

32 pages with full page colour illustrations

Subjects: World War One, Australia, Egypt, Cairo, Turkey, Gallipoli, Anzac Cove, picture books (Year 5-8)


Synopsis
This is one of a series of books about “the extraordinary men and women who have shaped Australia’s history”; others to be met in the same series are Ned Kelly, Mary MacKillop and Captain Cook, with more titles coming soon.

The foreword says this is the story of how the Anzac legend began. Unlike many other books, this one finishes on 25 April 1915. It starts with the men going to sign up as war is declared, and I’m pleased that it includes a mention of the “NZ” part of ANZAC: “In New Zealand, men were doing the same.” The story doesn't focus on any particular soldiers; instead, much of it is told through snatches of talk and conversation as the men sail across the world to Egypt, visit the pyramids, play cricket in the sand, pack up and travel across the Mediterranean, finally landing at Gallipoli.

I like the cover, which is similar in some respects to the cover of Best mates (three young men with their arms around each other’s shoulders!) The books were both published at about the same time, so this is sheer serendipity or else a reflection of something important about the theme of both books. There is also a timeline at the end.

You can see some of the pictures if you click on the Free sample on this Random House page, or on the excellent YouTube clip about the book, which cleverly intersperses the artwork with original photographs taken during the war.  "A picture book is a bit like an ice berg", Claire says, "in that you have to have an understanding of all this material to then be able to write lightly across the top of it in the few words that you have available there."

Reviews:
This review on Aussie reviews calls it "a wonderful introduction to the soldiers who forged the ANZAC legend." 

The Teachers' resources include author and illustrator interviews, classroom activities and discussion questions.  

About the author
You can read about Claire Saxby on her website and her blog, Let's have words (great title) which has a blog post about the launch of Meet the Anzacs.

I like the bit in the About me section where she says: "Words have fascinated me as long as I can remember. I have always loved reading. I used to go home from boarding school and read for days on end, only emerging to swim and eat."

Another book in the same series, also by Claire Saxby, is Meet Weary Dunlop

About the illustrator
Max Berry’s website says he was born in 1987 in Katherine, NT, Australia; he did a Bachelor of Design in 2005-2009, and lives and works in Sydney. He’s won a string of prizes, including being a finalist in 2012 and 2014 in the Gallipoli Art Prize. I’d never heard of this before but it began in 2006, runs annually until 2015 and is administered by the Gallipoli Memorial Club (whom I’d never heard of before, either.)


Have you read it?
Have you read this book? Let me know what you think!