Fiction: September 2007 Archives

Fans of Pete Johnson’s work will neithbe neither surprised nor disappointed to learn that he has penned no ordinary teenage spy novel. Henry has a secret concerning his father and indiscretions from his past that have been manipulated to secure self-interest. Henry is now determined to reveal the truth and with a similar deftly, Johnson sows the seeds of his story with just the right precision to keep readers edging ever closer, but never quite guessing the truth behind this twisting, turning story. Fiendishly cunning and cleverly observed, Pete Johnson brings fresh flavour and gives food for thought to the common staple of the teen spy novel

Back for his ninth adventure, the hapless Jiggy McCue finds himself transported to a parallel world in which he becomes divorced from his familiar motley crew of musketeers. In itself, this highlights Lawrence’s aptitude for revealing the inner-workings and mechanics of group friendships, social interaction and communal thoughts and actions – an understanding that places his series alongside stalwarts of children’s literature, Nesbit and Blyton, who showed similar awareness and ability to convey this effectually through unembellished, fast-moving prose style.

Literary influences figure highly in Michael Lawrence’s body of work, as he quite correctly asserts in his preface, this is not done ‘slavishly’ here, but rather creates parallels that are parodied – and sometimes ridiculed(!) – adding to the jovial nature of the predicaments Jiggy encounters.

Cleverly interweaving details and character facets from the previous books in the series, this is absurdist humour at its unequivocal best – belly laughs abound in this rib-tickled read!

Choice of the plague as a colourful backdrop for the novel betrays a pedestrian storyline and prose style that relies largely upon stereotype and sweeping generalisation as to the tastes and ‘truths’ of childhood. Eclipsing the novel is the story of its production. This is the first of several series in Egmont’s cynical “2Heads” imprint, which sees children consulted over the contents of the list.

Reliant upon the notion of a set of ‘universal’ truths that are somehow applicable to all children and are made available through consultation with a select group, consultation is located firmly within the contemporary preoccupation that active engagement in the arts is possible without tutelage or awareness of the field. A necessary lack of experience and restricted reading base become limitations that seriously impinge upon the imaginative scope available to writers, necessitating that the ways reading is able widen our windows onto the world and our sense of perspective and understanding. Reading at its widest and most liberated instead becomes substituted for that which is already known and has been experienced. It becomes a process of less than enviable recirculation…

The self-flagellating approach that children should be consulted with all that concerns them, limits the choices and opportunities available, only to those which are readily within a said ‘child’s’ field of experience. It is invariably difficult to rise above the mundane with something that is lasting and likely to make an impression. “Terror in Cubicle Four” lacks the characterisation and emotional base that make it possible to empathise and understand.

Production values are low, illustrations by Pulsar Studios bear little relation to the text – the tentacle described on page twenty-three is visualised as a distinct creature, a nematode of sorts and the choice of illustration feels arbitrary and often poorly orchestrated.

Our approach to writing, publishing and making reading material readily available for children is seriously jeopardised when reticence over ‘adult’ involvement is made whether that be instigated through commercial or egalitarian motivations…

The highly innovative and imaginative illustrator Joel Stewart proves himself equally proficient at the pacing and plotting of fiction for young readers in “The Trouble with Wenlocks”. Travel on a train takes an unexpected turn when everyone slips into slumber save for Stanley Wells who experiences an apparition. This apparition is later revealed to have been a Wenlock, an ethereal being with the ability to remove fear and uncertainty.

With parents living apart, and voyages made between their respective home, Stanley has been the subject of great change. His train ride extends as a metaphor for the journey of his own life, one that he must travel, arriving at difficult decisions alone with regard to his outlook and intended destination...

Delightfully idiosyncratic and whimsical, Joel Stewart captures that sense of the surreal that accompanies feelings experienced for the first time. Caught, on the one hand, between the enigmatic Dr Moon's careful guidance and sage advice and, on the other, Joel Stewart's intriguing first novel, readers could not be in safer hands.

Although sometimes overt in the narrative’s placement of moral and ethical standards, the story nonetheless makes for a fast-paced, action adventure that will doubtless find a legion of fans foremost of these are likely to be those who are savvy with the fast evolving worlds of gadget and computer aided technologies. With often exotic and far-flung locations, an increasingly enticing array of spy gadgetry and the promise of top-secret assignments, this series has enough hooks to capture the imaginations of even the most reluctant of readers…

Assigned the task of looking after new pupil, Ivan, by headteacher Mrs Blaizely, Boris finds himself constantly trying to veil darkly threatening comments and a deliberate flouting of authority when translating his new class-mates comments from Russian into English for the benefit of teachers and pupils alike at the highly convivial St Edmund’s school. Throughout the course of the day, the problem escalates in magnitude, placing Boris into ever more cringe-worthy, difficult circumstances as he tries to meet and match Ivan’s menace with good manners.

Anne Fine’s trademark black humour is laced with a delicious sense of precision and of timing throughout the novel. As concurs with the author’s body of work per-se, however, underpinning this humour are keen observations as to the functionality of communication in modern life, the need for expressing one’s wants and desires across whatever boundaries we encounter in life – whether these be geographical or based around engaging with those from different ages or backgrounds to our own and a tendency for children’s voices to be marginalised alongside the egalitarian intents of those imbued with their education and wellbeing.

Publication of this admirable and compelling short novel is the flagship for Anne Fine’s revised and rejacketed backlist with Egmont books.