Children’s Book Week, Australia

Since 1945, the Children’s Book Council of Australia has been promoting quality children’s literature in this country. It does so through activities, outreach, and through a venerable program of literary awards. These awards are celebrated every year in Children’s Book Week, and they’re an important event in the children’s literature calendar. Children, teachers, librarians, authors, illustrators and publishers eagerly await the announcements. The endorsement of the Children’s Book Council means a lot–it’s a stamp of approval for children’s literature that the judges regard as beautifully produced, well written and illustrated, and relevant to children’s lives. There are several categories, by age group and genre, and then there is the announcement of the overall winner, the Book of the Year.

Normally Children’s Book Week is held in August (towards the end of the Australian winter–a reliable sign that spring is coming…), but this year, because of the COVID-19 pandemic, it is held in October. This week, in fact.

In a year which demonstrated how difficult the world can be, the Children’s Book Council of Australia Book of the Year Awards have recognised thought-provoking and uplifting stories that allow young people to take on all challenges

https://cbca.org.au/

I must say, that although it has been a difficult year, it has also been a year in which the value of storytelling–of writing and reading, of producing and receiving stories–has been well and truly recognised. Even though in Australia the artistic community has been hit very hard by the impacts of the COVID-19 shutdowns (and our governments could be doing rather more to support creative industries in general), it’s very clear how much we rely on storytelling–to lift our spirits, free our minds, open up the world to our imaginations, and help us think through all sorts of issues. There’s something about immersing oneself in a book that is better for the brain that the jittery rush of doom-scrolling and constant panic about the state of the world.

I’ve been watching in admiration as writers and illustrators adjust their usual whirlwind of book tours and classroom visits to promote their works, and encourage the joy of stories–through zoom events, online conferences, twitterfests and more.

And so it’s wonderful to see the Children’s Book Council of Australia also adjust–one of Australia’s older literary establishments finding a way to celebrate storytelling in these strange times. The theme for Book Week this year is Curious Creatures, Wild Minds, and you can click on the link to see the program for the week.

And in terms of the Book of the Year, here are the announcements, made by well-known Australians: enjoy!

CBCA Book of the Year Awards 2020

–Elizabeth Hale

Beached Az: Whale and Seagull meet Poseidon

Beached Az is an Australian series of short animations about a New Zealand whale who gets stuck on a small tropical island and becomes friends with a local seagull.

It has simple designs, and simple dialogue: sample:

Whale: “Oh No! I’m beached! I’m beached as!”

Seagull: “What are you doing, bro?”

Whale: “Dude, I’m beached as!”

Beached Az, series 1, episode 1.

It’s very funny, most of its humour coming from word play, repetition, and those accents. Whale and Seagull speak in the Australian approximation of a New Zealand accent–the a sounds like an e, i sounds like a u, the o sounds like oi, es sound like is, and so on. Seagull offers Whale a chup (a chip); Whale says ‘no I only eat plenkton (plankton).’ Their talk, too, is peppered with Kiwi slang–they often refer to each other as ‘bro;’ and say ‘sweet as,’ instead of awesome. Australians love making fun of how Kiwis speak, and this show offers a concentrated dose of friendly trans-Tasman mockery.

And it’s a sweet little series–of harmless and pointless conversations, with the occasional moment of depth and seriousness. Which brings us to Poseidon.

I just kind of Nep-tuned you out

In the opening to the third series, Whale and Seagull have the opportunity to be really serious, when they meet Poseidon, the god of the sea. Poseidon’s despondent because of the pollution and rubbish in the sea. Whale and Seagull try to change the subject and cheer up the gloomy god, but Poseidon’s not having it.

Beached Az: Cygull and Whaleborg

He takes them on a journey into the future, to show them what the oceans will become–dirty, built up, and full of robots. Indeed Seagull and Whale become cyborgs (Cygull and Whaleborg), but if Poseidon is making a point, it’s lost to the duo, who delightedly play with their robot powers, until the god loses his temper and shouts:

Poseidon: Yes I suppose your particuar situation has possibly improved, but we can’t allow ourselves to be befuddled by technology while nature is DYING!

Poseidon takes them back to the present, and tries again:

Whale/Seagull: Aww, Poseidon!

Poseidon: I was showing you the future to show you how bad it gets.

Whale: If you’re God of the Oceans, why don’t you just change it then. You’re powerful as.

Poseidon: It doesn’t work like that. I can’t affect humans’ free will. They must realise they’re not separate from nature, you’re part of nature–

Seagull: Aw, sorry, I wasn’t listening there. I just kind of Nep-tuned you out.

The environmental dilemma in a nutshell–a desperate nature god, ignored by mates who just want to chat and muck about. But of course the point is made–if humans don’t do something about our relationship with the world, we too are in big trouble.

Consulting the Urban Dictionary on the term ‘beached az,’ I find that the phrase has entered the vernacular–to be ‘beached as,’ is not at all like anything ‘sweet as.’ It’s to be in deep trouble–to be beached, like the whales that sometimes wash up on New Zealand shores–to be out of one’s depth, and up a creek without a paddle. Choose your simile or metaphor: the point makes itself.

Beached Az, meantime, is doing its bit to help the world–through sly humour and using Poseidon as a hapless straight-man, a foil to the chat of Seagull and Whale. Perhaps if humans are paying attention (and not Nep-tuning things out), some of the message will get through.

–Elizabeth Hale

Sweepus Underum Carpetum–little bits of Latin in Shaun Tan’s The Lost Thing

Shaun Tan’s The Lost Thing (2000) is a classic of Australian picture book art. It’s the story of a boy who is out and about looking for additions to his bottle-top collection, who sees a ‘thing’ on the beach–a great big, red sore-thumb of a creature, half coffee-pot, half-lobster, totally different from everyone and everything around it. The boy, being a boy, and thus perhaps open to moments of spontaneous creatiity, plays with the Lost Thing until dusk, then takes it home with him. His indifferent parents barely notice, but the boy realises the Thing needs to find a home of its own, and the pair set out on a quest that takes them through the city. It’s A dystopia: an anonymous industrialised city, where no one looks at each other, and communication takes place in formulae and rubber stamps.

It looks like the city of The Lost Thing is a very dull place indeed, and dullness is all-pervading and inescapable. The boy, for instance, is involved in collecting bottle-tops when he sees the Thing, and immediately returns to his collection once he has solved its problem: the tragedy of the story is that the Thing is never accepted, integrated, or even recognised by the society it stumbles into–its happy ending is to be sent back to where it comes from, taken care of by The Department of Odds and Ends, which the boy consults to find out where the Thing belongs.

Shaun Tan, The Lost Thing

The Federal Department of Odds and Ends helps the boy sweep the Thing under the carpet (or into the closet), in accordance with its motto, ‘sweepus underum carpetae.’) The boy narrates how he and the Thing make their way through the city until they find a mysterious doorway to a magical world, full of bright, colourful, curvy beings–the antithesis to the dull, angular city.

That’s it. That’s the story. Not especially profound, I know, but I never said it was. And don’t ask me what the moral is. I mean, I can’t say that the thing actually belonged in the place where it ended up. In fact, none of the the things there really belonged. They all seemed happy enough though, so maybe that didn’t matter. I don’t know. . .

Shaun Tan, The Lost Thing

It’s a slippery little story–the boy sliding out from any sense of knowledge or understanding of his actions, or of the Thing. Is he helping it? Is he shoving it out of the way? Is he solving a problem, or complicit in a continued set of injustices? Don’t ask the narrator. The subtitle of The Lost Thing is ‘A tale for those who have more important things to pay attention to,’ ironically suggesting that those who don’t read it, or notice the story, are those who are in most need of a dose of creative thinking.

A tale for those who have more important things to pay attention to…

But for those of use who ignore more important things, there is a great deal in The Lost Thing to enjoy observing. And for me, on my quest to chase up the Classical elements in Australian literature, there are the mottoes: each one from a different ‘government’ department. There’s The Federal Department of Information (ignorare regulatum); the Federal Department of Tubes and Pipes (plumbiferus ductus). The Federal Department of Economics (consumere ergo sum), The Federal Department of Censorship (illuminare prohibitus), and of course, The Federal Department of Odds and Ends (sweepus underum carpetae).

Tan’s sly sense of humour is in full view in details like these. These little dog-Latin tags are the only Classical elements that I’ve found in The Lost Thing. And they’re beautifully appropriate for the society of Tan’s novel–a long way from the vivid extravagance of Classical myth–the Classicism of branding and advertising, of signs and labels, of bureaucracy and pencil-pushers–Latin, the language of Virgil and Ovid, put into the service of administrative meaninglessness, perfect for a society of grey men, women, and boys, who look up only briefly from their bottle-top collections to notice the glorious Lost Things of the world, too busy to realise that they themselves are lost…

–Elizabeth Hale

Funny Bones–Geoffrey McSkimming’s Archaeological Adventures

Geoffrey McSkimming’s the author of the dashing Cairo Jim series, which I’ll be talking about on Saturday at the Our Mythical History conference in Warsaw this week.  In fact, the conference has begun, but while my colleagues are considering how children’s literature engages with the history of classical antiquity, I’m stuck in my hotel room nursing a lovely cold, and hacking cough.  I sound a bit like Cairo Jim’s learned friend, Brenda the Wonder-Camel, who intones quaooo whenever she has a deep thought. 

Anyway, as part of my preparation for this conference, I was recently delighted to interview Geoffrey, whose books are really entertaining and funny, and show how fun and scholarship can coexist in interesting stories for children of all ages.  And I’m looking forward to sharing his work with the Warsaw audience.  Geoffrey’s work can be found at geoffreymcskimming.com, cairojim.com, and 9diamondspress.com.  And the good news is that a new Cairo Jim novel is due out soon…

Here’s what we talked about. 

What drew you to writing archaeological adventure stories?  How did you develop your particular literary style/idiom/aesthetic for your works inspired by Classical Antiquity?

I’ve always loved history and story, especially the classic myths. I was bitten by the Egyptology bug when I was a child and years later I took my first overseas trip, venturing to Africa and finishing up in Egypt. Here I was overwhelmed by the history and the mystery of this country and, after getting sunstroke in the Valley of the Kings, I came up with the world of Cairo Jim and his friends and adventures.

The Cairo Jim chronicles proved to be an excellent avenue for me to explore many of the classical myths, and also those pockets of history where things have become forgotten. I’ve thoroughly enjoyed being able to put my own interpretations on what might have happened in the past, when we are now unsure of the actual events.

When I wrote the Cairo Jim stories I visited many of the locations and ancient sites featured in the chronicles. I spent countless hours in archaeological museums and wandering around crumbling ruins; visiting remote jungle areas and isolated Greek islands; climbing pyramids in Mexico and scaling the insides of them in Egypt. I lived and breathed the air breathed by the characters in my stories and I immersed myself in the ancient tales and myths that took place at these places. In these ways I suppose my literary style and idiom developed, with a healthy dose of outrageous humour and relentless irreverence which have defined much of my life.

GMSK Author pic Final © 9 diamonds press
Geoffrey McSkimming

 

The Cairo Jim books — 19 in all — were written and published over a period of nearly twenty years, and during that time I was able to explore many concepts to do with history and legend. Classical antiquity fuelled much of the world of Cairo Jim; it’s a world to which he’s passionately devoted. I think the series found its legs with the fourth story, Cairo Jim and the Alabastron of Forgotten Gods, which explores the concept of the disposability of big concepts, in this case being an entire belief system. What happened to cause the people of the time to abandon the Titan gods and take up the Olympians? It’s a mystery that Cairo Jim stumbles upon and one that he must solve before the world as we know it comes crashing down …

Where does the inspiration for Brenda the Wonder Camel come from?  (She is my favourite character—I aspire to be as good a scholar as she).

Brenda developed firstly as a plot device: she was an excellent way to inject information into the narrative (a Wonder Camel who, as a young calf, accidentally consumed all twenty-seven volumes of the Encyclopedia Britannica and then retained every bit of knowledge from those tomes is worth her weight in gold!). But it was when I visited a school, shortly after Cairo Jim in Search of Martenarten was published, that I realised how valuable a character – indeed, how valuable all characters in a story – could be. A girl at this school, a student in Year Five, said to me that she really enjoyed the story, but there was one bit she didn’t like. It was the bit when Jim and Doris the macaw went down underground to enter the tomb of the pharaoh Martenarten, leaving Brenda behind, up on the ground. This young girl said to me (and the words changed the course of the chronicles): ‘In my experience, it’s always the quiet ones who get left out.’ Her words struck at my very soul, and I realised for the first time how important characters are to readers. Because of that girl, Brenda the Wonder Camel developed through the years with a wisdom and a quiet, strong presence she may not otherwise have had.

Why do you think classical / ancient myths, history, and literature continue to resonate with young audiences?

Because, with classical / ancient myths, the stories are rich and powerful and they’re filled with great characters. And they’re not afraid to push boundaries and show scallywags behaving naughtily. I also love sharing other stories and other writers with younger readers; hence Doris the macaw is frequently quoting from Shakespeare (and Mr. Shakespeare even appears in Phyllis Wong and the Return of the Conjuror). And Phyllis Wong encounters Mary Shelley and the whole world of the creation of Frankenstein in Phyllis Wong and the Girl who Danced with Lightning. I love literary resonance, and sharing these things – I find that exciting. Stories can build on stories, and if that happens respectfully, the foundations of storytelling can only become stronger.

Do you have a background in classical education (Latin or Greek at school or classes at the University?) What sources are you using? Scholarly work? Wikipedia? Are there any books that made an impact on you in this respect?

When I started writing the chronicles, the internet wasn’t around, so my research was undertaken in libraries and museums and through as much travel as I could afford. I read many old volumes of classical myth and legend, which I still have in my collection. Also on my reading lists were books by explorers like Richard Halleburton, F W Schnitger, Percy Fawcett and others. And Evelyn Waugh’s travel books were a source of inspiration, especially for the times during which he made his trips.

Did you think about how aspects Classical Antiquity (myth, history) would translate for young readers?

Not greatly. I suppose the fact that so many of the stories from Classical Antiquity are such strong and entertaining stories, and that they still hold the attention after so many centuries, means that the stories continue to have real currency, and are ripe to be interpreted in stories such as mine.

One thing I try to share with young readers is my experiences of being in the places where the ancient stories played out: describing, for example, the smells of an ancient place and the appearance of the crumbling ruins as evocatively as I can, so that the readers can get a vivid sense of the setting and thus place themselves in the story, ancient or modern. In Cairo Jim at the Crossroads of Orpheus I recreated the House of the Perfumer at Pompeii after spending a lot of quiet time visitng the site, and I tried to evoke the ancient and the modern mystery of that place through the descriptions.

Are you planning any further forays into classical material?

The series I’m writing at present, the Phyllis Wong Mysteries, do use classical material in some of the stories. In Phyllis Wong and the Waking of the Wizard, the legends of Myrddin (Merlin) come to life when a sinister figure from the past tries to lure the great wizard into the present to bring down civilisation as we know it …

Anything else you think we should know?

Two things: 1. A brand new Cairo Jim story is coming soon, and 2. licorice and Gruyère cheese don’t go well together.

Noted!  Thanks very much, Geoffrey—we look forward to the new CJ novel.

–Elizabeth Hale

 

 

The shadows where History is heaviest–Cairo Jim goes to Pompeii

Following on from my last post, where I paid tribute to Brenda the Wonder Camel’s brilliant scholarship in Cairo Jim Amidst the Petticoats of Artemis, I’m thinking more about humorous history books for kids in preparation for the Our Mythical History conference in Warsaw this May. I’ve been alternating between another Cairo Jim novel–Cairo Jim at the Crossroads of Orpheus, and British author Gary Northfield’s Julius Zebra novels. I can’t decide which I like more, which is sillier, which is ruder, and also which offers a more interesting reflection on history. In fact, there’s no competition–they’re equally good in different ways. And I’ll talk about Julius Zebra next time. For the moment, I’ll carry on with Cairo Jim.

At the house of Phibius Whiffius

In Cairo Jim at the Crossroads of Orpheus, the gang gathers in Pompeii. They meet a beautiful French archaeobotanist, called Bette Noir, who is trying to reconstruct an ancient perfume, Pardalium, which gives the possessor power over all things and everyone. She found the recipe at the House of the Garden of Hercules, owned by a perfumer, she says, who was resplendently named Phibius Whiffius. In order to complete her reconstruction, she needs the spittle of a panther, and has written off to the Dubbo Zoo in NSW, Australia to request some.

While Bette Noir, Doris and Jim are chatting over drinks in the Garden of Hercules, Brenda the Wonder Camel strikes again, quietly working in Bette’s lab. She has panther in her soul, at least that’s what I think she has, and she draws on it to extract the required spittle from the depths of her being, shooting it perfectly into a waiting pipette, sealing said pipette in an envelope, and writing a message from the Dubbo Zoo. What a camel. As a calf, Brenda has swallowed the Encyclopaedia Britannica, which may account for her general brilliance.

Anyway, Bette Noir makes up the perfume, and then Neptune Flannelbottom gets hold of it, and uses it to bring the Telamons to life. Telamons are human-shaped columns, male caryatids, usually thought of as Atlas figures, support structures in other words. A telamon wandering around the streets of Pompeii could cause some damage. Luckily, Cairo Jim and his friends are equal to the challenge, and order is restored.

The evidence of time

This is all rather far-fetched. But it has a core of accuracy that provides a solid bedrock for a great deal of fun and games. There is indeed a House of the Garden of Hercules, and it is thought that the resident was involved in the perfume trade. McSkimming shares photographs of the house, and shots of different parts of Pompeii.

Cairo Jim, who early on reflects that as he walks through the streets of Pompeii, he is walking on the ‘evidence of time,’ is alert to every aspect of the city.

He observed the gentle sunlight, still not too bright at this time of day, and the way it was filtering down through the trees and the broken walls that he walked by. He listened to the birds as they sang their sweet, tiny songs all across the ruined city, and he thought how the birdsong seemed to be a balm . . . a soothing veil of sound cocooning Pompeii from the terrible memories of the past. He smelled the intoxicating aromas of ancient places–smells that he had come to recognise and love from his many years of being at sites such as this. The smells of old, old marble and terracotta, and the fragrances of shadows (he had discovered some time ago that the shadows where History is heaviest have a smell like no other), and the occasional whiff of rotting vegetation from fallen leaves all intermingled with each other, and drifted into his nostrils. (41-42).

This is just before Jim and the gang meet Bette Noir, learn about her plan to reconstruct the powerful scents of the past, and the mayhem and antics get going. Jim is moved by the scents he smells, to write a poem, which I quote below.

Pompeii had its yesterday

and yesterday before it,

but what took place, ‘neath skies of grey

and black–one can’t ignore it.

This pumice all around the town,

this litter of destruction

is testament to what went down:

Vesuvius’ interruption!

Yet now as boots with modern soles

tread quietly through the city,

we see despite the many holes

piled high with all the gritty

bits of Nature’s overflow

(these stones of igneous fury)

just what it is these ruins show:

that Time is judge and jury’ (43)

Well, it’s poetry of a sort. Doris the Macaw, one of Jim’s companions, objects: ‘There’s a time and place for poetry, and Pompeii is definitely not it!’ (43) Realism intrudes, until the preposterous plot gets going.

There’s a time and place for comedy

I’ve been mulling about the role of comedy in presenting history to young readers. Within the fun of Cairo Jim lurks a serious appreciation of ancient culture, and the novel gives a lot of information for those who seek it. With each novel I read, I learn a bit more about major archaeological sites, and with it, a bit more about ancient cultures. I’ve always preferred to glean my history from fiction: perhaps it’s the bit-by-bit approach I like, the puzzling things together, the finding things out, learning new things, being stimulated to look things up. For this post, I looked up the House of the Garden of Hercules, Telamons, and Pardalium, the ancient perfume that Bette Noir is trying to recreate. All of them are real things, though Pardalium may not possess the powers it has in this novel, and now they are things I know, as opposed to never having heard of (Pardalium), vaguely heard of (The House of the Garden of Hercules), or never really wondered about but should have (Telamons, or: what is a male Caryatid?).

Lightening the heaviness of history?

So, funny books can help you (or at least me) learn interesting facts. But can they lead you astray? This may be a worry for some guardians of scholarship, or of young minds: the danger that readers of The Crossroads of Orpheus may think that Phibius Whiffius is a real Pompeiian, that Pardalium has magic powers, that camels really can swallow the Encyclopedia Britannica and become psychic polymaths. Well, maybe not the last one (or … maybe they can . . consult your local camel to find out) . And indeed, that’s the clue: the comedy works because the funny bits are clearly of our own world, and that the real bits are clearly marked as real. Children encountering Phibius Whiffius may not instantly get the joke, but they will smell a literary rat, may ask a parent, or look things up. And they may have a discussion with parents or teachers or other children about Pompeii, what happened there, and be moved to find out more.

But having said that, Jim’s nostrils may quiver at the smells of time, and it is of course appropriate to reflect on the scale of the tragedy that Pompeii suffered, and to think with empathy about the difficulties of other parts of the world. But there is also space to reflect on how Romans (and others) lived: eating, drinking, making and smelling perfume. And sometimes, there’s simply the pure pleasure of laughter, the best medicine for all sorts of situations, past and present: lightening the heaviness, both of history and of the present.

Elizabeth Hale