Showing posts with label children's books. Show all posts
Showing posts with label children's books. Show all posts

Friday, October 06, 2023

Karen S. Wiesner {Put This One on Your TBR List}: Wildwood by Colin Meloy; illustrated by Carson Ellis


{Put This One on Your TBR List}

Book Review: Wildwood by Colin Meloy; illustrated by Carson Ellis

by Karen S. Wiesner



Wildwood is the first book in The Wildwood Chronicles, a 2011 children's fantasy series written by Colin Meloy (a member of the indie folk-rock band The Decemberists), illustrated by his wife Carson Ellis.

I found this beautiful little book with quirky artwork in an even quirkier bookstore. When I initially started reading it, I was reminded of a similar English children's series that I'd read to my son when he was young. Although it came out around the same time the Series of Unfortunate Events books were being released, I can't find them in my own library or in any successful internet search. In any case, the point is that I've never forgotten these uproariously hilarious stories filled with unlikely, improbable, and outlandish characters and situations. Everything in these tales was so ludicrous, there was nothing to do but laugh until you felt like your sides would split.

The crazy humor of the characters in Wildwood was a bit like that, enough to hope that good things were coming. But the thing this unforgettable series that I ironically can't remember the names, titles, or author of had one thing that I didn't find in Wildwood: There was a built in believability factor to them. I can't really explain why it was in that outlandish series other than that the reader was just never given a choice about swallowing the premise or any other part of those books. You went with it, and the fun insanity of it all carries you through the story without questioning the events that transpired.

Undeniably, Wildwood was well-written and I especially liked the unique illustrations interspersed throughout the off-beat tale. But the introductory scenario was one I just couldn't accept. In the opening chapters, a 13-year-old girl named Prue was handed off her baby brother by their parents to care for all day and night. This is done as if 1) it's Prue's job to do so, and 2) she has the degree of responsibility to do such a thing, whether she volunteered or not. Prue has a weirdly shocking sense of humor, which was appealing, and her laidback attitude was also a good setup. However, she had a blasé attitude about her brother. She thrusts Mac (an infant from what I'm understanding) in the naked "bed" of a red wagon which is attached to her bicycle. Prue proceeds to pull the wagon like a bat out of hell all over Portland. Readers are apparently supposed to believe no children could be seriously harmed in this way.

I found it harder and harder to suspend belief as the reader followed Prue around on her careless trek with a brother she didn't seem to want to be taking care of, nor really exercised any care in babysitting. I wasn't surprised because the back cover blurb of the book told us that Mac was stolen, plucked right out of wagon, by a murder of crows and taken into Portland's Impassable Wilderness.

I have a sense of humor. But, if any of this was supposed to be amusing, it simply wasn't written that way. But that's not the end of it. Add to this disturbing scenario yet another, equally unsettling and unbelievable one: Prue decides the best course of action after her brother is kidnapped is to go home, fool her parents into thinking Mac is already asleep in his crib, and she'll get around to rescuing him tomorrow.

First, I couldn't imagine the parents of an infant not checking on him personally before retiring for the night themselves, instead taking their teenage daughter's word for it that he was fine, fed, and off in la-la land, not to be woken by fawning parents.

Second, that Prue didn't think to involve her parents, immediately, who should have called the police, immediately, put me off entirely for anything like a fun, breathtaking fantasy fairy tale with a protagonist fitting the description of a young girl with an "admirable and amazing independent streak". (Prue is based on the author and illustrator's niece, who has these qualities, according to them.) While I was initially intrigued by Prue, I found that she didn't develop as a character in the ways I wanted her to. Yes, she did go after her brother eventually, proving that maybe she cared for him, though she initially seemed more concerned about getting in trouble for losing him, from what I could tell.

Perhaps Prue's unwelcome sidekick, Curtis, would have been much more sympathetic, compelling, and worthy main character, but he did get his share of pages in this first book of the series.

Explanations that could and should have come earlier in the story probably would have convinced me to invest more in the story, to see it as hilarious and entertaining instead of negligent and alarming. I think people of various ages who have no children might enjoy this sometimes violent, shocking story, but that begs the question: Who is the target audience? I wasn't entirely sure at any point, least of all now.

Aside from those aspects, the fantasy setting of Wildwood, which is based on the real Forest Park and much of its actual terrain, should delight lovers of Neil Gaiman-like, parallel world fiction. There are two more Wildwood series titles available now, along with rumors that it's being made into a stop motion film, coming in 2025 boasting a cast of all-star voice actors.

Karen Wiesner is an award-winning, multi-genre author of over 150 titles and 16 series.

Visit her website here: https://karenwiesner.weebly.com/

and https://karenwiesner.weebly.com/karens-quill-blog 

Find out more about her books and see her art here: http://www.facebook.com/KarenWiesnerAuthor

Visit her publisher here: https://www.writers-exchange.com/Karen-Wiesner/

Thursday, May 25, 2023

Crossing Genres

A publisher called Obsidian Butterfly is assembling an anthology to be titled "NecronomiRomCom," comprising Cthulhu Mythos romantic comedies:

Obsidian Butterfly

Working on a story to submit to this project reminded me of a panel at this year's RavenCon about mixing genres. A panelist asked what would be the most unlikely combination of genres. Of course, many mashups of classic novels with horror exist, such as PRIDE AND PREJUDICE AND ZOMBIES, SENSE AND SENSIBILITY AND SEA MONSTERS, and LITTLE WOMEN AND WEREWOLVES, but I'm not sure they count, consisting mostly of slightly revised texts of public-domain originals with horror content tacked on. Paranormal romance and various permutations of historical, SF, or futuristic romance have become recognized subgenres in their own right. Historical mysteries are also commonplace, as a natural outgrowth of the quest for fresh settings in which to place unsolved murders. Historical fantasy and horror aren't much of a stretch, either. Mystery is compatible with many other genres, and a romance subplot can be included in almost any kind of fiction. Randall Garrett's Lord Darcy series combines alternate history, fantasy, and mystery. Effective, credible crossovers of that kind require the setting and the magical rules to be clearly and consistently laid out for the reader, with no cheating.

Novels of secret histories that transform famous people of the past into fighters against supernatural evil demand more suspension of disbelief. Authors have made Abraham Lincoln a vampire slayer and Queen Elizabeth the First a hunter of demons. A duology by Cherie Priest, MAPLECROFT and CHAPELWOOD, pits Lizzie Borden, in her reclusive later years, against Lovecraftian monsters. (In this version of her life, she really did kill her father and stepmother, but only because they were possessed by eldritch entities from the sea.)

The Cthulhu Mythos seems to be a favorite candidate for genre-blending. The anthology SHADOWS OVER BAKER STREET merges the worlds of Lovecraft and Sherlock Holmes, a not terribly unbelievable combination. There's at least one anthology of stories set in a postapocalyptic world where HPL's extradimensional monsters have conquered Earth. Plunging into the realm of the absurd, SCREAM FOR JEEVES, by Peter H. Cannon, retells several of Lovecraft's best-known stories by inserting P. G. Wodehouse's characters and style into them. Probably the most incongruous cross-genre mashup I've ever encountered, however, is an anthology titled THE CALL OF POOHTHULHU--H. P. Lovecraft meets Winnie-the-Pooh.

Or how about colorful Lovecraftian board books for small children? A Mythos alphabet book is one of several cute products from the "C Is for Cthulhu" project:

C Is for Cthulhu

Has anybody here run into an unlikelier combination?

Margaret L. Carter

Carter's Crypt

Thursday, May 26, 2022

Age Ranges for Fiction

Editor Laura Simeon writes about determining whether a children's or YA book is "appropriate" or "inappropriate" for a certain age:

What Makes a Book Age-Appropriate?

Current "battles over so-called 'inappropriate' content in kids’ and teen books" can lead to situations where "school librarians nationwide report that some administrators are incorrectly treating these age recommendations as prescriptive and using them to craft policies that override the expertise of library professionals and limit students’ access to books." But determining which readers certain books are suitable for isn't that straightforward.

Do age guidelines for reading materials refer to vocabulary and sentence complexity or to content? The two criteria don't necessarily align. Simeon points out that a child with advanced literacy skills might be able to read a particular novel's text fluently but not be developmentally ready for the themes it includes or the way it deals with them. Her essay offers several examples of 2022 books that cover potentially sensitive topics (e.g., divorce, mental illness) in ways suitable for middle-school and YA readers, respectively. Conversely, I could mention numerous classic novels with stories fully accessible to preteen readers but with vocabulary and style that could prove challenging for some contemporary twelve-year-olds—for instance, THE SECRET GARDEN, especially the Yorkshire dialect passages.

Simeon lists issues that trouble people who want to restrict students' access to the "wrong" or "inappropriate" books, among them the fear that kids might "lose a romanticized notion of childhood innocence." It is to laugh. The only people who believe in the "innocence" of childhood are adults who've forgotten large portions of their own childhoods. When James Barrie calls children "innocent" in PETER PAN, he couples that adjective with "heartless." It has often baffled me when would-be censors object to having child readers exposed in fiction to phenomena they're almost certainly aware of in reality. "Books can be upsetting and confusing," Simeon acknowledges, "but so can real life. Unlike real life, readers can skim, skip, take breaks, and walk away."

Anyway, age range recommendations for books, like genre categories, are marketing tools. Their chief purpose is to help booksellers and librarians decide where to shelve things. C. S. Lewis says somewhere that any book worth reading at age eight (aside from "books of information") is equally worth reading at any age. I first encountered many of my favorite children's and YA authors in adulthood. I have a vague memory of reading a couple of the Narnia novels in elementary school, but I tracked down the entire series only in my twenties. I've reread them over and over since then. I'd never heard of the Winnie the Pooh stories until my high-school Latin teacher read us a chapter every Friday (while we passed around WINNIE ILLE PU).

My own policy about children and books, based on my own prodigious quantity of "inappropriate" reading from about age eight on, has always been that their reading shouldn't be censored. If they stumble upon a literary work and find it interesting, let them tackle it. If they come across passages "over their heads," they'll be either bored or repelled and will simply skim or skip. As for the few books I owned that I flatly didn't want my underage offspring to read, I kept them securely stowed where the kids didn't know they existed.

Margaret L. Carter

Carter's Crypt

Sunday, March 07, 2021

Ebby Flowy

One thought... and a second one.

My first thought on hearing that EBay has the will and the ability to remove all Dr. Seuss books from sale was, "Does that prove that they have the ability to eliminate ebook piracy, if only they had the will? Is this the proverbial camel's nose under the tent?"

I spent yesterday afternoon surfing the Bay, looking for piracy. To EBay's credit, I did not find much compared to my last survey. So, my second thought was to give EBay kudos.

What is the betting that the EBay bookburners will not find this ? (Which may or may not contain bootlegged Seuss... I'm not going to buy a copy to find out.)

Likewise:

Not everything advertised as "Gutenberg" is really Gutenberg.  I see a lot of living authors whose work is surely not out of copyright.  

I also see a lot of ebooks being offered on DVD, and I see that some sellers offer electronic delivery as an option, whether for individual works or for collections.

Speaking of collections, one might smell a rat with this link, not for piracy, but for plausibility.  Eight full sets?

EBay seller ratings are not reliable, I have found in the past, so when buyers take the time to leave something more than a minor constellation of stars, it's worth sniffing around.  To find ratings, click on the hyperlink to Seller Information, then click on either Positive, Neutral, or Negative to read reviews.

Reviews are only viewable for items sold in a limited, recent timeframe.

All the best,