The Elephant has also been shortlisted for the Patricia Wrightson Prize – NSW Premier’s Literary Awards. Read a synopsis and the judge’s report here. It is Peter Carnavas’s first novel, after an impressive output of picture books, and he has illustrated it with black and white line drawings.
Tree & Paper Planes Like Martine Murray’s two shortlisted books, a tree is a symbol here. It is Olive’s ‘thinking spot’. Her grandfather cares for her since her mother has died and her father become incapacitated by grief. Grandad makes and flies paper planes with her. Children could make coloured paper planes, write positive messages onto them e.g. ‘You have a wonderful laugh’ and tie them to a jacaranda (or other) tree to emulate some of the events in the story (see pages 125,142).
Other Symbols in the novel are the elephant, tortoise and the dog.
Elephant The elephant is the major symbol. Olive’s mother had made a clay elephant which is now broken.
Soap carving Children could make a soap carving of an elephant: Materials coloured and/or patterned rectangular soaps (note descriptions on page 138), scrapers & peelers can be safe for child use e.g. plastic knife, potato peeler, paper clip, teaspoon, pencil, paper. Method Trace around the soap onto paper. Draw and cut out the elephant on paper. Trace around the shape onto the soap. Cut away excess soap with plastic knife. Cut away more with paperclip. Etch details and texture with pencil. ‘MetKids’ have a useful video. https://www.youtube.com/watch?v=Y17RweezGi8
Typewriter (page 38) Grandad typed poems for Olive’s mother. Students choose or write poems and type them using a typewriter.
School Olive’s school is celebrating its 100-year anniversary, so the students are studying old things. Children could show and talk about old things that are important to them
Side by Side song. Grandad and Olive love this song. Children could also listen to it and sing along.
The Grand, Genius Summer of Henry Hoobler by Lisa Shanahan (Allen & Unwin)
The Grand, Genius Summer of Henry Hoobler won the Griffith University Children’s Book Award (Qld). I interviewed Lisa Shanahan about the novel for the bog here. Read the QLA judges’ report here.
Drawing Worry Henry is a worrier and describes worry as a ‘big round grey tumbleweed of dust, with skinny black-and-white-striped legs poking out of and red boots’, pages 10-11. Children could draw their own visual interpretation of worry.
The Beach using Green Screen Technology
The beach is the setting of many Australian holidays and is integral to this story.
Children could create freeze frames of characters superimposed over a green screen beach setting.
Students select a character e.g. Henry, his two siblings or his new friend, Cassie. Choose three scenes where they appear in the book.
Green Screen Superimpose students in their freeze frame poses onto virtual backgrounds or animated digital backdrops of the beach.
Equipment: iPad (a 1-stop movie-making device), green screen (could be made of green fabric or paper), lighting, tripod (opt), Veescope, Green Screen Pro or other apps for background videos, iMovie or equivalent. A useful resource is
Parents are important in the novel. Henry’s parents have different personalities. His mother is an introvert – understanding with some anxiety. His father is an extrovert – exuberant (page 47), with a big, wild love (page 141).
If completing the activity about the beach (above) at school, include the children’s parents by giving them the opportunity to upload the beach film using the ‘Seesaw’ app or equivalent.
We’re well and truly in to the school routine now, although some mornings seem to lack that ideal, perfect-world motivation and drive. But with these following picture books at the ready, your kids will be inspired to remember their purpose and excitement for the day ahead.
Time for School, Daddy is a gorgeously humorous role reversal-type situation, in the same as essence as the previous title by Dave Hackett, Time for Bed, Daddy. Most often than not it is in fact us parents struggling to get out of bed, greeted each morning with the bombardment of children eager to get the day started. And here, this is no different. The little girl wakes a dozy, grumbling Daddy so they can get ready for school. She gives him his favourite breakfast, which always ends in a mess. She washes and dresses him in his work clothes, not without a bit of chaos. She packs him a mighty fine lunch, a tad of grooming and then it’s time to walk out the door. But who’s going to school today?
Tonnes of energy emanate from both the text and the images, with an innocently grown-up voice from the girl’s perspective as she guides her father through the hectic routine. The bright and vibrant cartoon illustrations work beautifully in a simplistic, obvious focus on the actions, which are the perfect linchpin for the irony that makes this book so witty. Time for School, Daddy is adorable, motivating fun for children from age four.
The school or public library may just be the best place to get inspired, excited and transported (figuratively) during a normally busy day. So for anyone who loves to read, a chance to dive into books would be plenty of motivation to leave the house in a hurry in the morning. But for one little girl, there is one book in particular that she can’t get enough of. Lucy’s Book, written by Natalie Jane Priorand illustrated by Cheryl Orsini, is one special story that follows one special story on many adventures as it is shared by Lucy to all her friends.
Lucy and her mum visit the library every Saturday. The enchanted red book, of which we speak, is recommended by Mrs Bruce and borrowed a multitude of times from the library. Lucy loves it so much, all her friends are dazzled by its charm and it makes its way into their hands too. The book is escorted on holidays to Honeycomb Bay and China, to the zoo, and even made into a banana sandwich. But what happens when the book is no longer available for borrowing? Do you believe in destiny?
Just like the premise of this story, the lively illustrations pronounce a real community feel; one of shared values, togetherness and spirit. With influences from real people (Mrs Bruce is a friend of the author and also the image of Megan the librarian at the local school), Lucy’s Book feels like a real-life fairytale where everyone gets to be involved in the swirl of magical bookishness and where fate is a reality. Dreamy for book lovers of any age.
Ruby Lee is a highly enthusiastic student with a big imagination. But when it comes to being chosen as classroom helper, she’s not always the most efficient. Hark, it’s me, Ruby Lee! is a wild and animated tale of learning patience, working to your skillset and being yourself.
Award-winning author Lisa Shanahan, together with graphic illustrator Binny, provide a linguistic and visual treat with their eccentric blend of humour and design. Shanahan’s quirky names are just the beginning of the literary goodness, with dialogue that perks in all the right places, and a storyline that is so authentically realistic despite all the crazy and creative figments Ruby Lee imagines in her mind. And flawlessly, Binny’s fantastical, detailed illustrations with blocks of colour and line work add that extra depth and meaning to both Ruby Lee’s real and made-up worlds.
Preschool and early years children will adore being taken into Ruby Lee’s school life as messenger as she discovers not how to be like someone else, but where her own strengths lie. Hark, it’s me, Ruby Lee! plays out like a set of comical and whimsical scenes that will be requested to be delivered over and over again.
Thank you, Joy! And many thanks for having me on the blog.
But first, where are you based and what is your background?
I live in Sydney, with my husband and our three sons, not far from where I grew up as a kid. I initially studied Communications straight out of high school at UTS, where I majored in writing and media theory, before then going on to train as an actor at Theatre Nepean, UWS. Towards the end of my acting training, I taught drama to a group of kids out at Mount Pleasant and I wrote them a play. It was then that it finally dawned on me that I didn’t want to be an actor after all, that in fact I wanted to be a writer but for young people, rather than adults. So not long after, I enrolled in a writing course with the acclaimed children’s author Libby Gleeson. That course felt both like a complete revelation and a homecoming. It was there that I workshopped a picture text I had written on my honeymoon of all places, about a little boy and his ice cream van driving dad. Libby Gleeson was a wonderful teacher and she instinctively knew how to draw out the possibilities of both a writer and a text and because of that early encouragement, here I am sixteen books later.
Do you give many presentations to children? How do you make them interesting? Have there been any particularly memorable responses?
I’ve spoken to thousands of kids over the years, presenting talks and writing workshops. In my general talks, I’ll often share funny stories about my life, what kind of kid I was growing up and especially some of the funny stories about bringing up my boys. There’s lots of acting and hilarity, especially when I share the inspiration behind stories like Sleep Tight, My Honey or My Mum Tarzan. I always bring along some of my writing journals and I usually explore the growth of at least one book in detail, from first seed to final story. I’m keen for kids to hear about the writing process but I’m also especially passionate for them to grasp how curiosity about ordinary moments can lead to the creation of juicy stories.
Funnily enough, some of the loveliest moments happen when I’m not speaking at all, when little clusters of kids sidle up at the end of a session to confide about a book they’ve been writing, or how they’re going to go out and buy their own writing journal that very afternoon, so they can write about the idea they have for a funny story about their own crazy mum, grandpa or dog. Because just as much as I want kids to love my books, at the end of the day, I want to inspire them even more so to discover the beauty and worth of their own stories.
I adore your laugh-out-loud YA novel My Big Birkett (it’s one of my all-time favourites) and love reciting parts about the animals that mate for life, The Tempest and gorgeous Raven and the meals he makes using mince; as well as your wonderful picture books. Could you tell us about some of these books?
Thanks Joy! It makes me especially happy to know that you are a Raven fan!
I’m often asked what I prefer to write most and I always say I love writing both picture books and novels and that I couldn’t choose between them. The best part of writing picture books for me is the absolute thrill of collaboration. I’ve been fortunate enough to work with so many brilliant illustrators over the years and each one has taught me so much about the power of the visual text. Some of my picture books that have been especially well-received include the Bear and Chook books, illustrated by Emma Quay, Gordon’s got a Snookie, illustrated by Wayne Harris and Big Pet Day, illustrated by Gus Gordon, who was also on the QLA shortlist too, for his gorgeous picture book, Somewhere Else. My most recent picture book is Hark, It’s Me, Ruby Lee! illustrated by Binny Talib. This was such a tough text to illustrate, mainly because of the fairly swift juxtaposition of the scenes of school life, with Ruby Lee’s fervent imagination. I’m just so delighted at what a marvellously beautiful job Binny has done.
I will say that one of the unforeseen joys of my writing life has been the steady, heartfelt emails I have received over the years from teen readers regarding My Big Birkett. These emails about Gemma and Raven and the De Head family have been incredibly sincere and poignant and they have often left me with a huge lump in my throat.
I know this is a tricky question but how do you incorporate humour into your writing?
This is a tricky question! As a kid, I looked into books like they were real windows. The books that spoke to me most were always the ones that captured acutely the laugh-out-loud jumbly nature of life, alongside the bittersweet ache. In terms of writing humour, I always keep an ear out for those little things that will make kids laugh. Not so long ago, my sister told me a story about how her four-year old son crept into her bed in the middle of the night and snuggled up tight to her, saying, ‘I love you so much Mummy, I want to shoot you out of a cannon!’ When I tell that story to kids, they roll around on the floor, laughing their heads off. But at the same time I know they recognise the vehemence of that kind of love, because they’ve felt it rocketing around in their own chests. I think humour has this remarkable capacity to encourage true connection and I’m always keen to incorporate it in my work, because it radically paves the way for readers to engage more fully and tenderly not only with a character’s dreams, fears, hopes and sorrows but also perhaps, with their own.
The Grand, Genius Summer of Henry Hoobler (A&U) has just won the QLA Griffith University Children’s Book award. The judge report says:
“The Grand Genius Summer of Henry Hoobler is structured as a quintessential Australian beach camping holiday but the exceptional storytelling soars to welcome the reader into both the setting and young Henry Hoobler’s rites of passage. We are given a heart-warming insight into introspective Henry. He is a genius at noticing things, surprising his fellow campers with his success in board and card games. He is also ‘Mr Worst-Case Scenario’, dreading the bugs, stingers and sharks of the beach but, most of all, dreading learning to ride his new silver bike. The bike is a symbol of fear, but its significance changes as Henry discovers courage and freedom. Courage can be found when friends are ‘straight-up and true’, embodied by free-spirit Cassie. This tale reminds us that everyone is different and everyone has gifts. Some, like Henry, prefer to learn quietly but even extroverts can be fearful.
The writing is literary and metaphorical, encompassing a vast emotional range whilst being utterly engaging for children. It is rare to encounter a novel for mid-primary children characterised by such perception and cadence.”
What was your reaction when you realised you had won?
I was astonished and delighted. It took quite a few days for it to truly sink in. Then I was just overcome with immense gratitude that the judges had seen something special in Henry.
It was wonderful to meet your young son, Rohan, at the awards presentation in Brisbane (and others there loved seeing him reading The Hobbit as the night wore on). Why was he there and what was your dual experience of the awards evening?
One of the initial nudges for writing Henry Hoobler was watching Rohie develop as a reader. After a slow start, he had a very sudden and rapid acceleration over a single year and I knew he was in this slippery in-between stage, where the books he was capable of reading were still quite a huge stretch for him emotionally. I began to wonder if I could write something that would speak directly to his life. As I wrote Henry, I read chapter after chapter out loud to Rohie. When I had finished the book and before it had been published, he persuaded his class teacher that I should come to school and read some chapters to his whole class as well. I dedicated the novel to Rohan because I wanted to acknowledge just what an incredible gift it was to have his enthusiastic encouragement along the way.
Rohie is an avid bookworm and so hanging out at the QLA awards ceremony for him was suddenly like meeting all of his people, all at once. He was especially touched that I mentioned him in my speech and I was especially touched when Rebe Taylor, the winner of the QLA History Book Award asked him to sign her copy of Henry. I can safely say that if Rohie’s class teacher had seen that handwriting, he would have been granted his official pen licence on the spot!
What is the significance of the title The Grand, Genius Summer of Henry Hoobler?
Early in the novel, Henry discovers that his rather unique talent for noticing things, makes him almost unbeatable when it comes to playing cards and board games. After Henry convincingly and unexpectedly smashes all the men and the older boys at games, Patch, his rather begrudging older brother finally acknowledges that Henry might be bit of a grand genius. It’s the beginning of a radical shift in the way Henry sees himself. Although Henry has replayed every worst case scenario in vivid detail regarding his camping holiday, what he has never considered is all the ways this summer might turn out to be the best one yet, the grand, genius summer of all summers.
Could you tell us about your protagonist Henry and some other characters?
Henry is a sensitive, imaginative and thoughtful nine-year old boy. He is the middle child, slotted right in between his athletically gifted, funny, know-it-all fifteen-year old brother Patch and his rambunctious, My Little Pony obsessed younger sister Lulu. Both Henry and his mum share some anxious traits and tend towards self-reflection and to feeling things deeply. Henry is very keen to please his exuberant dad, who is a real enthusiast for life. But Henry is filled with dread at the idea of learning how to ride his new bike without training wheels, especially in front of prickly Reed Barone, another boy who is close to Henry’s age and who is prone to sneering. Eventually, Henry meets ten-year old Cassie, who lives onsite in a caravan with her Pop. Cassie is a free spirit and alive to the world in ways that astonish Henry. Finally, Cassie’s straight up and true courage rubs off and with an unexpected Lulu intervention, Henry learns how to summon up his own courage and to do a whole series of adventurous things that he never imagined.
For what age-group is this novel intended?
Henry is intended for 7-11 year olds. I’ve been really pleased though by the numbers of reviewers that have also recommended it as a read-aloud for the whole family or the school classroom too.
How did you balance fine literary writing with the other elements of the narrative?
I was keen to write in a way that was hospitable to all kinds of middle grade readers, those that were confidently independent and those newly finding their feet. As a result, the story contains lots of snappy dialogue, which helps to give the text an easy, engaging flow. In terms of metaphoric imagery, I kept in mind some feedback given to me around another novel, regarding the importance of restraint. I was conscious that any poetic moment really had to serve the story and forward the action. At the same time, I wanted the novel to contain a certain richness of vocabulary because something the American writer Madeleine L’Engle once said has stayed with me for years, ‘We think because we have words, not the other way around. The more words we have, the better able we are to think conceptually.’ So balancing all of these elements was challenging, a little like prancing across a highwire tightrope.
As well as being good fun to read, Henry Hoobler has some important underpinning themes. Could you share some of these?
I’m always a little cautious when discussing themes because I know the writer is sometimes the least insightful person on that subject! With Henry though, I was keen to explore the nature of courage, the way one young boy discovers how to be brave over the summer, by learning how to make a tiny bit of room for the worry in his life, without giving it the whole house. The novel examines the transformative nature of unexpected friendship, the contagiousness of courage, the way we need one another in order to learn how to become brave and the way courage always arrives through the actual taking of considered risks. The novel celebrates the importance of family and community and the value of perseverance, forgiveness and kindness. I was keen to write about the beauty of the natural world and how to recognise and treasure the true significance of small ordinary moments.
Which awards have had particular significance for you?
Whenever a book of mine is either shortlisted or receives an award, I’m always extraordinarily surprised and grateful. I know it’s such a hard job to make those kinds of choices, especially when there are so many equally deserving and beautiful books out in the world. Writing a book does take a significant investment of energy and time and winning an award always means that a book will have a much greater chance of being widely read. I was particularly thrilled in 2010 when Bear and Chook by the Sea won the CBCA’s Book of the Year for Early Childhood, not just because it was a moment I got to share with my good friend the illustrator Emma Quay but also because as a kid, I drew a poster every single year for Oatley Library’s celebrations of the Children’s Book Council’s Book of the Year Awards. I was desperate to win a book prize in that poster competition, never dreaming that I would one day write a book that would win an award from such a long-established and hallowed institution.
What are you writing next?
I’ve been writing a series of picture book texts and I’m just returning now to a novel for teenagers that has been patiently waiting it’s turn.
What have you enjoyed reading recently?
I’ve loved Elizabeth Strout’s Anything is Possible, Karen Foxlee’s A Most Magical Girl, James Rebanks The Shepherd’s Life, Brian Doyle’s collection of essays Leaping: Revelations and Epiphanies and the picture books Oi, Frog by Kez Gray and Jim Field and Once Upon a Small Rhinoceros by Meg McKinlay and Leila Rudge.
Thanks so much for having me on the blog and for asking such astonishingly good, stretching questions. It was lovely to take the time to reflect and ponder.
Thanks for your very thoughtful and insightful responses, Lisa and all the very best with your excellent novel, The Grand, Genius Summer of Henry Hoobler, and your other works. We greatly look forward to what your imaginative mind will bring us next.
I know that some people prefer not to have gender labels about books. Regardless, the three following books will be enjoyed by boys, and will no doubt also appeal to a wide readership.
The Grand Genius Summer of Henry Hoobler by Lisa Shanahan (Allen & Unwin)
Lisa Shanahan wrote one of my all-time favourite YA novels, My Big Birkett (published 2006). I have loved talking about it over the years: laughing out loud at the animals that ‘mate for life’ and rattling off the many meals that Raven De Head could make with mince; admiring the correlation with Shakespeare’s The Tempest and adoring the two main characters, Gemma and Raven. It was shortlisted for the CBCA.
Lisa Shanahan has also written picture books, which include Bear and Chook, Bear and Chook by the Sea and Daddy’s Having a Horse (all illustrated by Emma Quay); Big Pet Day (illustrated by Gus Gordon); and Sleep Tight, My Honey (illustrated by Wayne Harris). Many of these have received awards.
Her new novel, The Grand Genius Summer of Henry Hoobler, is best for mid primary-age readers – it’s rare to find a high quality Australian stand-alone novel for this age-group. It is set during a quintessential Australian beach camping holiday. Henry is ‘Mr Worst Case Scenario’. He worries about the adventures and feats (particularly by bike) that most book characters would embrace. The author is perceptive and empathetic in how she addresses Henry’s concerns. The writing and characterisation is impeccable for the intended age group.
Harry Kruize, Born to Lose by Paul Collins (Ford St Publishing)
Another Australian author is Paul Collins, who established Ford St Publishing and has specialised in writing speculative fiction. He has also edited two well-received anthologies, including Rich and Rare.
My favourite of his books was The Dog King, which has been inexplicably out of print for years until now. The author has taken the wonderful essence of The Dog King, added to it, and re-formed it as Harry Kruize, Born to Lose. The core story is about 13-year-old Harry, nicknamed ‘Hobbit’ because of his height, who is bullied by THE BRICK (there are lots of capitals and bolded strategic words in this new version). The beauty and wonder of the tale is the relationship between Harry and the old tramp, Jack Ellis, who moves into the shed behind Harry’s mother’s boarding house. He tells Harry tales about dogs. Some of them seem familiar … The denouement is as breathtaking as when I first read it.
The Light That Gets Lost by Natasha Carthew (Bloomsbury)
The Light That Gets Lost is an accessible, well-written novel for older readers from the UK. 15-year-old Trey deliberately gets himself incarcerated so that he can avenge his family. ‘Camp’ life is tough and he is focused on finding his parents’ killer, who he believes is one of the adults working at Camp Kernow. Sinister secrets are uncovered as Trey draws close to his target.
Her indelibly gentle style, warming tones, infallible use of mixed media, energetic and always gorgeous characters bounce from her pictures every time. Including titles such as Ted and Mum Goes to Work, illustrator Leila Rudge knows just how to capture the heart, soul and spirit of her characters in all of her books. Here are a couple of newbies to set you on course.
Giving preschoolers many themes and topics to explore, Leila Rudge‘s Gary, the racing pigeon, drives this adventure story home with its grit and determination. If he is a racing pigeon then why doesn’t he fly? That, we are unsure, but Gary finds other ways to get around. In similarity to Anna Walker’s ‘Peggy’, this accidental hero breathes adventure and travel and no high rise obstacle will stop him.
The stories from the other pigeons and his scrapbook collection of mementos give Gary a sense of place in the world, even though he only knows his own backyard. Then one day he is mistakingly taken in the travel basket a long way from home. But how could Gary feel lost when he had already studied the city from back to front? Gary’s adventure concludes with a little ingenuity and a whole lot of inspiration.
I loved Gary’s accepting yet curious personality, and the way Leila Rudge has written his story with verve and sensitivity. Her illustrations are equally as charismatic and layered with their mixed collage and pencil drawings of maps, souvenirs and adorable racing pigeon outfits!
Gary is a sweet, charming story of passion and opportunity, and challenging one’s own abilities. I’m sure children from age four will be dreaming to accompany Gary on more adventures in the future.
If you ever want a book to test your dog-breed knowledge, your linguistic gymnastics and your wit, get The Whole Caboodle! Author Lisa Shanahan has lined up a beauty with this energetic and playful counting canine collection of cross-breed ‘oodles‘. And Rudge‘s illustrations achieve this characteristically zealous greatness in leaps and bounds. As the text bounces ahead, so do the characters across the softly-shaded mixed media, double page spreads.
The little dog (perhaps some kind of Terrierdoodle) wakes his peachy-pear, grizzly bear, fizzyjig, whirligig owner in a rush to visit the park. It takes from one to ten rollicking, rhyming, imaginative adjectives and dog breed terms to count from home, through the neighbourhood, across the fairground and in to the park.
With phrases like “Four tumbly-rumbly Goldendoodles” and “Six dizzy-whizzy Spitzoodles”, plus plenty of doggie shapes in the illustrations to find, The Whole Caboodle will certainly lead children from three into fits of giggles and thrills.
Why do animals feature so heavily in picture books? 1. They are so relatable. 2. They provide a sense of comfort and nurturing. 3. They reinforce positive emotions and behaviours such as empathy. Whether these animals are represented as their true natures or anthropomorphically, children (and adults) feel connected to these cute characters and regard them with affection. The notion of being responsible for one, and all the playfulness that they have to offer is one that appeals to many. Here are a few heartwarming and imaginative picture books about pets that capture the love between the most unlikely of friends.
What an exciting day at school! ‘Big Pet Day’ is a tale of mammoth exuberance as Lily’s class celebrate the individual qualities and talents of their pets. Much to her dismay, Mrs Dalton’s classroom quickly becomes a disorganised chaotic mess. The principal, Mr Fisher, will be judging the best pet later that day, so keeping everyone under control is of the utmost importance. There is a runaway ferrett, a pooping pony, and a cordial-drinking puppy. Lily’s pet dragon is very well-behaved though, but she is the only one who knows how special he is. In a hilarious finale, involving a squealing, hermit crab-fearing Mr Fisher, it is Lily’s dragon who is now ‘seen’ as the most deserving gold trophy winner.
The text by Lisa Shanahan is absolutely comical, with many personalities evident – the cheekiest would have to be Mrs Dalton! There is a lot to discover, with the various children and the shenanigans of their pets, and illustrator Gus Gordon covers all these aspects expertly with charm and humour. I love the page with the kids looking exactly like their pet counterparts! Gorgeous! His use of scanned images, adorable hand-drawn characters and fine details (like Mrs Dalton’s book titled ‘Pet Management’) allow for hours of perusal and plenty of giggles.
‘Big Pet Day’ is perfect for primary school aged children (and their teachers), with scope for open discussions on pets (real and imagined), classroom management, friendship and loyalty. This book is both entertaining and heartwarming. It’s a winner!
Here’s another delightful story that explores the imaginative relationship between a child and his best friend, in this case, it’s ‘Me and Moo’. This pair are inseparable and it is clear from the outset that they have formed an instant bond by the corresponding t-shirts they wear (‘I’m with Moo’ and ‘I’m with Me’). Just like introducing any new member to the family, there are adjustments to be made. Once raising Moo to be a walking, flower-eating, disguise-wearing little calf, it is soon Moo who is doing the raising when he no longer fits underneath the bed. Mum and Dad set the rules, and the boy narrator dutifully takes his responsibilities seriously. He even discovers that his friends own talented, fun-loving pets, too. The animal antics don’t stop there with one final surprise that is sure to have readers hanging out for the next instalment.
Whimsical and hysterical, the text and pictures are dynamic and completely compatible, just like Me and Moo. The illustrations by Eckstrom are animated and strong, yet maintain a soft and soothing feel that exudes warmth, humour and frivolity all at the same time.
‘Me and Moo’ is a gentle and charming tale of unlikely friendships and responsible pet ownership that will have preschoolers demanding for more.
Only just being released, I haven’t got my paws on this one as yet. From what I can gather, this book seems quite the controversial one. Having been written in the 1950s, (discovered shortly after he died in 1991) it is likely to include outdated cultural ideologies, but then again, haven’t those Suess classics stood the test of time?
It is a story about a pair of children facing the dilemma of choosing just one pet to keep. Whilst it is said to maintain some of the legend’s imaginative spirit with its whimsical poetry and a wacky, gangly-looking creature to spark our curiosity, amongst the realness of dogs, cats and goldfish there are also important, modern day questions raised in line of animal rights and seeking a life-long pet companion, and imposing such rules and decision making processes on children of this age.
When you get a chance to sneak a peek at ‘What Pet Should I Get?’ I’d love to hear your thoughts on this ‘hidden treasure’.