Years and years ago, when I was a boy, when there were wolves in Wales, and birds the color of red-flannel petticoats whisked past the harp-shaped
Years and years ago, when I was a boy, when there were wolves in Wales, and birds the color of red-flannel petticoats whisked past the harp-shaped hills, when we sang and wallowed all night and day in caves that smelt like Sunday afternoons in damp front farmhouse parlors, and we chased, with the jawbones of deacons, the English and the bears, before the motor car, before the wheel, before the duchess-faced horse, when we rode the daft and happy hills bareback, it snowed and it snowed. But here a small boy says: "It snowed last year, too. I made a snowman and my brother knocked it down and I knocked my brother down and then we had tea.
[image] Cover of the original publication - image from Goodreads
It began in 1945 as a radio talk, Memories of Christmas, for the Welsh Children’s Hour program. He later merged bits from a 1947 piece called Conversation About Christmas and sold it to Harper’s Bazaar in 1950 as A Child’s Memories of Christmas in Wales. In 1952, Caedmon Records asked him to record himself reading it for the B-side of a collection of his poems. The title we have come to know for the piece, A Child’s Christmas in Wales, was from this recording. Thomas had been unable to remember the title used in the Harper’s magazine version, so recalled as best he could. It turned into kind of a big deal, as the recording is seen as seminal in starting the audiobook industry in the USA.
[image] Dylan Thomas in the White Horse Tavern - image from Peter Harrington – The Journal – photo by Bunny Adler
Set in Swansea in the 1920s, Thomas offers a fragmented memory, recalling not just one particular Christmas but his childhood Christmases in general.
One Christmas was so much like the other, in those years around the sea-town corner now, out of all sound except the distant speaking of the voices I sometimes hear a moment before sleep, that I can never remember whether it snowed for six days and six nights when I was twelve, or whether it snowed for twelve days and twelve nights when I was six.
It is a mix of his perspective as a child and his finer focus, looking back as an adult.
The particular Christmas that stands out includes images of a neighbor’s house catching fire
The overall timbre is warm and loving. But there are hints as well of darker elements in the world around. Some bred from imagination
the winds through the trees made noises as of old and unpleasant and maybe web footed men wheezing in caves… perhaps it was a ghost… perhaps it was trolls…
Others from observation
We returned home through the poor streets where only a few children fumbled with bare red fingers in the wheel-rutted snow and cat-called after us, their voices fading away, as we trudged uphill…I would scour the swatched town for the news of the little world, and find always a dead bird by the Post Office or by the white deserted swings; perhaps a robin, all but one of his fires out… Some few large men sat in the front parlors, without their collars, Uncles almost certainly, trying their new cigars, holding them out judiciously at arms' length, returning them to their mouths, coughing, then holding them out again as though waiting for the explosion; and some few small aunts, not wanted in the kitchen, nor anywhere else for that matter, sat on the very edge of their chairs, poised and brittle, afraid to break, like faded cups and saucers.
There is also mention of chasing the English and bears in deep Welsh history, a reference to wars that ended with English subjugation of Wales.
The story is about the sequence of events from one Christmas afternoon, when a neighbor’s calls of “Fire” draw the fire brigade and all breathing neighbors, the narrator and his co-conspirators addressing the possible conflagration with the launching of multiple snowballs. It offers a portrait of youthful shenanigans, and homes filled with boisterous “uncles” and tippling, excluded “aunts.”
Gleeful image-making permeates
"Our snow was not only shaken from white wash buckets down the sky, it came shawling out of the ground and swam and drifted out of the arms and hands and bodies of the trees; snow grew overnight on the roofs of the houses like a pure and grandfather moss, minutely ivied the walls and settled on the postman, opening the gate, like a dumb, numb thunder-storm of white, torn Christmas cards."
The boys imagine themselves as Eskimo-footed Arctic marksmen, snow-blind travelers on north hills, see their large boots as leaving hippo prints, and approach a maybe-haunted house with carols.
It is a tale about memory itself as much as about Thomas’s recollections of childhood, as individual experiences, although some are specifically recalled, merge into sometimes single, catch-all recollection.
Please do listen to Thomas’s reading, a poet’s reading of prose, elevating his story to a form somewhere between literature and song. A smile sprung forth on my face on hearing this (yes, I have heard it more than a couple of times before. The smile returns every time.) and lasted well beyond the delivery of the final sentence. It would, on occasion, pull upwards, straining my cheeks and gums, before settling back a little in preparation for the next assault. The scenes he recalls, and his snarky commentary, will make you smile, probably in recognition of the sort, if not the specifics, maybe even laugh out loud. It always gets a passel of LOLs from me.
The language is celestial, as is his world-class talent for imagery and word-play. It will lift your spirit and make it hover for the duration of the reading, maybe even a while beyond. You could do worse than making the playing of this recitation a seasonal tradition.
One thing this story is likely to do is to spark personal recollections of Christmases of our youth. I would love to hear about yours.
Thomas’s recalled 1920s Christmases resonated with my memories of Christmases in the 1950s and 1960s Bronx. Mine were certainly not all snow-filled, but, as with Thomas’s recollections, they all occupy the well of memory with a fine dusting of white. Unlike Thomas, there is not a single Christmas that stands out from my childhood. Like his, mine have taken on a general character, merging into a common fuzzy-edged recollection.
The space between Thanksgiving and the special morning was always filled with great excitement and anticipation. Going to see the Christmas displays at Macy’s, Saks, Lord & Taylor’s, and even more stores, became a tradition, as was visiting the massive tree at Rockefeller Center. I got to sit on Santa’s lap at Macy’s at least once, but had sense enough to be skeptical even as a sprout. Why would someone claiming to be Santa’s helper look and dress just like him? Something clearly did not add up. The hunt for presents hidden in closets, cupboards, and underneath anything that had an underneath was a seasonal sport.
On Christmas Eve, my sisters (all three much older) would head out for midnight mass, fresh in finery, make-upped, seeming serious. I had no notion at the time that such a display might have been as much a mating ritual as an act of piety. I was spared that particular form of torture, (a Mass even longer and presumably more unendurable than the ones I was forced to attend every week) excused by my youth. Despite my concerted attempts to remain awake hoping to spot Santa, most years I was long asleep before they all arrived back home, cherry-cheeked, coats and hats asparkle as the dim light inside our front door was magnified by reflections from unmelted flakes.
Christmas morning was a bubbling mass of excitement as we all gathered in the living room, and took turns opening gifts. There was always one for me, and for my brother labeled “From Santa,” supplemental to the gifts from our parents, and each other.
As if we were not wired enough from a night of short sleep followed by a meth-level increase in respiration, Christmas breakfast tended to be French toast, slathered with Aunt Jemima’s, Log Cabin, or Vermont Maid. Attending Mass was mandatory, of course. It is a wonder the church did not crumble to the ground from all the child and pre-adolescent vibrations juddering the pews. We would always unwrap an annual gift, a fruit cake, from my father’s aunt, a mysterious figure I never actually met.
In the years since I have come to think of Christmas as akin to the baseball season for us Mets fans. The lead up was all excitement, wondering what goodies might come our way, hoping for some surprises, and that some gift wishes might come true. The reality was rarely very satisfying, filled as it was with things like socks and pajamas. There were toys, of course, but usually of the Woolworth’s sort, things like cap pistols, and plastic trains that rolled uneasily around a circle of plastic rails. Occasionally, there would be something more interesting. A Davy Crockett coonskin cap was a memorable hit. It was my brother who actually got me some of the more exciting, larger-ticket items, a yellow, battery-operated bulldozer, a robot that shot missiles, a wireless walkie-talkie that was pretty cool for 1960.
The day itself was always an opportunity for some of the neighborhood kids to try out brand new sleds. The Bronx may not have San Franciscan hills (although the West Bronx is particularly rich with steep slopes) but there were plenty of hills, snow, slush and ice-covered land to be challenged. Even if you did not get a new sled, there was certain to be a neighbor kid who had, and there was a chance he might let you take it for a ride. Of course, there were always cardboard boxes and trash can lids that offered a sliding descent if not a lot of control. Not that it ultimately made a lot of difference to me. It was while attempting to steer an actual sled down a Tremont Avenue sidewalk that my face made a dent in a stubbornly unmoving tree. Sadly, sledding was one of many skills I never managed to acquire. The tree in our tiny living room was real, in the early years, but as adolescence approached, and my parents ploughed further into middle age, it was supplanted by a disappointing plastic imitation.
The toys were soon in pieces. The new PJ’s supplanted their high-water, short-sleeved predecessors. Winter settled in, and the disappointment of not getting what you really wanted faded. Dashed hope settled back underground, like a perennial, biding its time until the next season arrived for it to sprout forth once again, all shiny and new.
When I had children of my own, I tried to install a few elements to make the day special. We had a tree of course. Watching It’s A Wonderful Life became a Christmas Eve tradition, and I read The Polar Express to them at bedtime. The girls would always find, on Christmas morning, a letter from Santa (typed, in an appropriate font, in red. My hideous penmanship would have been too obvious.) encouraging the sorts of feelings and behavior one might expect from a benign spirit. I made my own Christmas cards for many years, with their names included among the From list. But it was mostly something for me. My greatest parental Christmas triumph, however, was singular. The girls were on the verge of disbelieving. We had recently moved into a new place, a house that featured a beautiful, albeit no longer functional fireplace. I carved a linoleum cut of reindeer hoofs, and proceeded to make hoof prints leading from the fireplace into the living room and kitchen. The girls could not believe that any parent would willingly make such a huge mess, and THEY BOUGHT IT!
[image] Cover of the original Caedmon recording
The season has settled into another phase for us. ¥es, there is still a tree, although this year is likely to be the last of the real ones. There is my wife and our close immediate relations. The tree skirt is reliably populated with resting felines. My children are scattered so are not a presence, which is sad. I have long since ceased making my own cards, Goodreads review-writing having absorbed that artistic impulse. We still have a special meal, including some foods that only appear once a year. We still exchange gifts on Christmas day. And on Christmas eve I harangue my wife into tolerating yet another showing of It’s A Wonderful Life. I still end up in tears. I can only hope that my kids (all grown up now) have happy memories of the holiday, and that they have found some traditions to carry forward for their own (someday) children.
But whoso shall offend one of these little ones…it were better for him that a millstone were hanged about his neck, and that he were drowned in the
But whoso shall offend one of these little ones…it were better for him that a millstone were hanged about his neck, and that he were drowned in the depth of the sea. -- Matthew, Chapter 18
According to the National Center for Missing and Exploited Children, roughly 800,000 children are reported missing each year in the United States. Most are found. Thousands are not.
Great events turn on small hinges.
It’s good to be King. As Stephen King well knows, 2019 is a banner year for him, with written production continuing apace, and with many of his previously written materials being brought to screens large and small. The second installment of the cinema-sized production of It is now the largest grossing horror movie ever. In April, Lisey’s Story was optioned by Apple TV +, to be produced by J.J. Abrams, starring Julianne Moore. His sequel to The Shining, Doctor Sleep, starring Ewan MacGregor, will be released in theaters on November 8. Season three of Mr. Mercedes began airing on September 10. Season two of Castle Rock begins airing on October 23. In the Tall Grass, co-written with his son, Joe Hill, was released with Joe’s story collection, Full Throttle, on October 1, and the film was released on Netflix on October 4. A remake of the film Pet Sematary was released in April. And only King knows what else. Not counting upcomings, like a novella collection due out in May and a film of The Outsider, due in January. It’s good to be King.
[image] Stephen King - image from The Washington Post – by Shane Leonard
And just to make sure you know that the 72-year-old author is not resting on his considerable laurels, (and vast financial resources) he keeps cranking out new product. He is doing what he loves, calls it the best job in the world, and will continue pecking away at his keyboard until God tells him to stop, or if the quality of his work deteriorates, which is probably the same thing. So how does septuagenarian King hold up? Like fine wine, he ages well. The Institute may not be on the same level as the best of King’s work, not as scary as It or The Shining, not as epic as The Stand, but even garden variety Stephen King novels are still pretty good.
Tim Jamieson, an ex-police office through misadventure, is hitchhiking from Florida to a likely job in New York, when he finds himself at the back end of nowhere, a place called DuPray, SC, rich with free time and privately owned firearms. It has a certain appeal and they just happen to be in need of a little light constabulary assistance at the moment. Tim is in no hurry, which may be the town motto. The single significant business in town is a depot, that will figure later in the book. We get to watch Tim scope out the diverse personalities of the place. King does this so bloody well. And then we leave Tim for a considerable stretch until the back end of the book. The intention is clearly that you will forget about him, until the time is right, and then think, Oh, yeah, that guy.
BTW, Jamieson winds up in Dupray when the car in which he was hitching a ride gets stuck in godawful traffic on I-95, so much so, he is informed by the woman who had picked him up, that he’d do better just walking to the next town. King and his wife make the trip from Maine to Florida and back every year so he knows of what he writes when he tells of death by traffic jam on the South Carolina side of the interstate.
Things are much more unpleasant for young Luke Ellis. Kid has an unreasonable IQ. He is merely 12, but eager to move on to MIT AND Emerson, yes, at the same time. The head of the very special school he is currently attending thinks he is up to it. He also has a touch of telekinesis, or TK, although this is not on his school applications. It is this ability that gets him noticed, and not in a good way. A black SUV shows up on Wildersmoot Drive, in Minneapolis, one night, and Luke’s life is forever changed. He is dosed and carted away, (not, sadly, on a flying motorcycle) his parents eliminated. When he wakes up, he is in The Institute of the title, somewhere in the Maine woods, one of a handful of young people at the front half of the facility…for now. They are treated unkindly, brutalized for any resistance, featuring zapsticks and no-holds-barred slapping, and subjected to troubling experiments, by a harsh group of Nurse Ratched level caretakers.
The concept for the book dates back more than two decades, when King — who has depicted similar psychic characters as loners in books such as “Carrie,” “The Shining,” “Firestarter” and “The Dead Zone” — pictured an entire schoolhouse filled with such kids. When he began writing the book in March 2017, he thought of it not as a horror story but as a resistance tale, with 12-year-old telekinetic genius Luke, teenage mind reader Kalisha and 10-year-old power-channeler Avery forming a rebellion inside their detention center. “I wanted to write about how weak people can be strong,” King says, speaking by phone from his home in Bangor, Me. “We’re each on our own island, and at the same time sometimes we can yell to each other and get together, and there is that sense of community and empathy. I love that.” - from the NY Times interview
Luke’s TK is present, but is not considerable. The genius part, though, that’s fuh real. Kalisha is a barely teen with pretty good telepathic talent, and an attitude. But she and Luke hit it off straight away. Avery is a ten-year-old with scale-busting telepathic talent, which has also made him a major-league spoiled brat. There are others, but these are the core. The nice twist here is that there are so many tales of schools where kids with special abilities band together, but few are as tough on their charges. I mean Hogwarts had its Death Eaters, but it was still a pretty cool place. Professor Xavier’s school, ditto. The Institute? Not so much. Stranger Things also shows kids joining forces against the dark side, but it heads off in a very different direction.
King has always had a particular gift for writing kids. As they did in It, kids band together to fight off the evil forces that mean them harm. There is similarity to Firestarter in which a paranormally talented kid is taken by the government, eager to study and utilize her particular talents. This time it is a private entity, with a global perspective, and a nifty excuse for their wrong-doing. But global or local, public or private, it boils down to decent kids vs dark-hearted adults, no matter how they salve their consciences with ends-justifies-the-means logic. (One cannot help but imagine a Kevin Mulvaney, speaking for management, telling critics to ”get over it”.) Did I mention that King does kids supernaturally well? The guy’s still got it.
Just in case you thought SK was intending this as a political effort, pointing out our Mad King caging children at the USA-Mexico border, it turns out not so much. As noted above in the NYT quote, the notion seriously predated the political event. In an interview with Stephen Colbert, King says that he tries to keep his political opinions separate from his writing. I would take this with a shaker of salt. One does not have to look hard at Under the Dome to get the sulfurous fragrance of Dick Cheney, for example. But sometimes a story is just a story, and that appears to be the case here. There is an excellent bit in which kids at the Institute are allowed as much booze and cigarettes as they want, available in exchange for tokens they earn for cooperation, as a means of keeping them pliant. That looks to me like genius at work.
King’s gift for portraying human interaction extends from the kids forming a community to the people imprisoning them, and the population of Dupray, SC. He shows plenty of the sort of in-house politicking in The Institute that anyone who has ever worked anywhere knows. You can count on there being at least one maybe-friendly face among the staff. The portrayal of how Dupray’s natives interact is also a thing of beauty.
I liked that the best talent of all turns out to be brains. (That is not a spoiler) Of course brains alone do not suffice. TP (telepathy) and TK (telekinesis) factor in big-time. It is also heartening that King, as he has done many a time before, brings fear and awfulness to the stage early, but, as Cormac McCarthy did in The Road, uses that darkness as a terrifying background against which to shine a light on hope, on optimism, on the gains to be had when small players join together to challenge a large foe. Per usual, for me, I did not lose any sleep from reading The Institute. While I very much enjoy King’s work, it rarely leaves me with the heebie-jeebies. This is not a knock. Serious chills is a nice-to-have, but not a prerequisite for enjoying a Stephen King book.
The Institute is not a short book, at 557 pages. King’s novels rarely are, but I found myself extending my reading time every night while reading this, eager to see what happens next, and concerned for the safety of favorite characters. So, for me, certainly, it was a page-turner.
In short, while I would hardly rank The Institute among the top tier of King’s novels, it is certainly a fine, engrossing read that will hold your interest and probably raise your blood pressure for a while. And if the terror of kids being torn away from their parents, being held incommunicado, and being handled by people who can be very poor caretakers indeed, reminds you of any real-world outrages that should be raising your blood pressure, and if you are led to give more thought to the challenges of moral decision-making in matters of global significance, that would be a bonus. The king is not at all dead. Long live the King!
The Institute is about a concentration camp for children, staffed by implacable factotums. To what extent did Trump’s immigration policies affect the book? Trump’s immigration policies didn’t impact the book, because it was written before that incompetent dumbbell became president. Children are imprisoned and enslaved all over the world. Hopefully, people who read The Institute will find a resonant chord with this administration’s cruel and racial policies.
“I wanted to write a book like Tom Brown’s School Days,” King says, referencing the 1857 Thomas Hughes children’s classic about a British boarding school. “But in hell.”
Long before Stranger Things and even It, children with supernatural powers were at the center of King books like Carrie, The Shining, and Firestarter. “Like a pitcher that has a great fastball or slider, you go back to what worked for you before,” says King. “I do think that kids are sort of magic. When I was a young man, I could draw [inspiration] from my own kids. Now that I’m so much older, I am drawing from my grandchildren and what I see them doing and how I see them interacting.”
[image] “De kleine co-Pilote” (The little co-pilot) by Jantina Papercamp
The second issue of PromiseShore’s bookazine, Zizzle, was released in March, 2[image] “De kleine co-Pilote” (The little co-pilot) by Jantina Papercamp
The second issue of PromiseShore’s bookazine, Zizzle, was released in March, 2019. The first had been published in October, 2018. (My review of that one can be found here.) In a quick reprise, issue #1 introduced a hard-cover-format short story collection aimed at young readers. The physical presentation was fabulous, with great attention paid to the look and feel of the book, as well as to the content. The stories were all good, with some that were wonderful. Question is whether the magic of issue 1 is repeated in issue #2. I am happy to report that publisher Yuetting Cindy Lam has gotten it right twice.
[image] Yuetting Cindy Lam - image from PromiseShore
The quality of the selected writings is top-tier. As with the first issue, there are ten stories, with three degrees of difficulty, Easy, Less Easy, and Not Easy. Each story has its level indicated by a book-stack icon in yellow, green, or red, in the Table of Contents and at the beginning of each story. (Personally, I would have gone with green for Easy and yellow for Less Easy), but no biggie. The stories are all under 1200 words, brief enough to hold the attention of young readers. As in the first, the second has an appendix in which the authors tell about the inspiration for their stories, and another in which the authors reveal their favorite books and authors when they were kids. Each story is introduced with a photo of the author as a child. The background color of all the story pages varies from tale to tale. The gorgeous artwork is by provided this time by Dutch artist Jantina Peperkamp.
[image] Jantina Pepercamp - image from her FB pages
The stories are diverse. In Child of the Short Spark, one day, out of the blue, a boy becomes a prodigy, on piano and whatever else he wants. The newfound gift presents some unexpected challenges to him. In Familiar a young student, believing her teacher be an actual witch, tries to gift her with an appropriate companion. Nuclear Missiles Are Coming Our Way takes on a kid’s embarrassment at his physically dimorphic parents. Imagination takes charge in No-School Day, when a daydream supersedes reality. Some pre-ad jealousy and mean-girl hostility arises in Sticks and Stones, matching up with clothing color and designs to reflect the tension between beauty and awfulness. Good Biscuits, Wonderful Tea shows how even the mature can learn from the young. My personal favorite was The Gift of Everness, a beautiful, moving fable about the externalities of growing old. My War Effort offers a touching portrait of a time (WW II) and place (Brooklyn) in which women come together to support each other and their men at war. Sealed offers a multi-generational look at the appeal of one’s home town. And finally, I’m Not Going to School tells of a child whose ADHD results in an excess of dust-ups at school, and a strong desire to stay away. It is a fair bet that you will find something in this collection that you will love. It is the intent of the publisher that these stories be enjoyed by kids and adults alike. Can’t speak for the kids, but I know one adult who liked them a lot.
[image] Lesley Dahl -image from her GR page
The stories offer a respectable gender range, with three male, four female, and three generic child leads. No ethnicities are specified, but some are identifiable. I expect the folks at PromiseShore struggled with how to cope with offering a fair ethnic balance. It looks like they ducked the issue by going mostly generic. The same cannot be said of the artwork. There are five different beautiful paintings in the book, variations of one image appearing on both the front and back covers and inside as well. They are all lovely, but offer a singular look, white, very, very white. A bit of diversity would have been welcome. I personally would prefer art work that illustrates the stories, but it looks like they will be sticking with non-story-specific images.
[image] Girl in swimsuit - by Jantina Papercamp
The book includes a smattering of encouraging quotes from the likes of Sylvia Plath, Alice Munro, Dr Seuss, Picasso, Emily Dickinson, and others inserted between stories. “The constant happiness is curiosity” and “The worst enemy to creativity is self-doubt.” And more of this sort. A nice addition. Hopefully this bit of subliminal support will help young readers keep at it.
Bottom line is that Zizzle is a singular, remarkable, beautifully crafted series that should find a home wherever there are young readers, and in libraries across the planet. I dearly hope it finds enough readers to support the publisher continuing to make these lovely, lovely books.
FYI, I received a complimentary copy from PromiseShore, despite the fact that my children are all grown, and there are no wee beasties of the two-legged sort ratting on my rugs. That left reading them to the cats. Nesto was trying to get through the latest Neal Stephenson, but it was too much for him, so I read him some Zizzle. He immediately stopped contemplating consciousness in the digital space removed from the physical, made himself comfortable, and drifted into a nice slumber to the soporific tones of my voice. Of course he might just have been settling in to sleep anyway.
[image] From artist Andy Wai Kit’s Instagram – this is the full illustration on the cover. It wraps around to the back.
I was approached by Yuetting Cin[image] From artist Andy Wai Kit’s Instagram – this is the full illustration on the cover. It wraps around to the back.
I was approached by Yuetting Cindy Lam (a short story writer and book crafter living in Hong Kong) in August about reviewing an upcoming book, rather a bookazine, called Zizzle, a literary magazine for young minds. (I have often been accused of having a young mind, although not in those exact words, so was intrigued.) Promises were made. We aim to cultivate literature lovers through our dedication to the art of flash fiction. (works under 1200 words) This takes cognizance of the apparently minimal attention span of today’s young readers. And I guess it will remain to be seen if the targeted minds will allow themselves to be cultivated. Values were espoused. We believe young readers are able to develop a discerning taste for fine fiction. Well, if we can drag them away from their electronic devices. One hopes that there is at least enough parental control remaining over ‘tween sorts that actual and potential readers can be led to the literary trough despite the absence of a screen.
[image] Publisher Yuetting Cindy Lam – image from PromiseShore.com
The copy finally arrived in late October. I was immediately taken with its physical characteristics. This is a hardcover book, a small one, but still. That speaks to me of a dedication to quality, a willingness to invest in making the best possible physical product. Color me impressed. It is beautiful as well, with planned issues designed to form a rainbow of color when shelved together. Sprinkled throughout the book is delightful art work by Andy Wai Kit. I would not call them illustrations as the images are generic, not linked to specific stories. Another non-story-specific feature is pages offering small generic notions, things like “Stories can take you anywhere” and “These stories are short—so take your time, be there a while.” Of course, a later admonition to “Read slow. Spend some time with each story.” seemed a bit redundant. “Stories can take you anywhere…” may be unnecessary for those of us who have a few miles on us, but the target readers are fresh off the lot and might respond to this somewhat subliminal nudge, a shoulder angel encouraging readers on. The stories are further distinguished by having different background tints for each.
[image]
Each of the stories is introduced by a photograph of the author as a kid (although not all of these are from the authors’ middle school years), or something relating to the author. Aside from being lovely for the writers, I wonder if there is some other purpose at work. Will kids relate to stories better if they see they are written by people who were once kids too? It is an unusual and sweet thing to do. The authors are also given one section at the end in which each tells about the inspiration for the stories they wrote for this publication, and another about books that touched them as kids. It is pretty clear that Lam wants to treat contributing writers well, which is a beautiful thing. I am not aware of the specific reasoning that went into including these pieces, but they certainly inform readers that stories come from specific places
There are ten stories in the collection. They are intended to be enjoyed by adults and kids, stories that are to be read by kids rather than to kids. Some are crystal clear, with beginning-middle-end plots. The Road to Valhalla, in which a student in a harsh religious school makes a connection between forms of faith is a wonderful, and very satisfying example of the form. Imagery is particularly strong in many of these stories. The Lightning Conductor is highly charged story about a girl who sees her father in hospital hooked up to sundry electrical devices, and in an electrical storm that night imagines the bolts as her father communicating to her through the music of the storm. It is magical and tear-inducing.
[image] Andy Wai From Deviant Art
There are stories that celebrate the power of imagination, like Ptero Teddy, and ones that offer the feel of fable about hubris, like How the Moon Scared the Giant, or offer an O Henry-ish finale to a genie-in-a-lamp trope. There are some dark items in there as well. In The Border Crossing the dark-hearted animal immigration officer seems determined to say no to everyone. There is political content that will be obvious to adults but that might slip past young readers. Does the giant in How the Moon Scared the Giant stand in for humanity over-extending in trying to control nature? Does the border guard remind anyone of US immigration policy?
I liked most of the stories here, but a few missed the mark. Heroes is a bit of a joke about a mixup between David Bowie records and a famous character (and knife) from American history. Adults will get the joke, but kids are unlikely to. I found that there were finales that did not lend themselves to ready interpretation, raising questions I felt unable to answer. Why did the horse in Tanehill Farm show affection to the boy in the story? Why did the girl in Scarves tell no one what she had done with her beautiful gifts? Of course being unable to definitively answer all questions raised in a story is a nice opportunity to enter into a discussion with a young reader about what she or he thinks this or that might mean. The reading level of each story is indicated with an introductory icon, Easy, Less Easy, and Not Easy.
[image] Fiction Editor Lesley Dahl – image from Dahl’s site
There is some exquisite writing in these stories. For example, this from Ruby Vidalia
From the beginning I loved the sound of words unfolding like paper cranes, each one taking me out of my house, out of my school, to a world I’d never know.
Overall the writing is very accessible, totally appropriate to young readers without being off-putting to those of no longer of that demographic.
While I cannot say I loved all the stories in this collection, I liked most of them a lot. I adore the concept of the bookazine and love the optimism of attempting to expose young readers to quality work. I would prefer for the art work to be more illustrative than generic, but that’s just me. And I really enjoyed the subliminal encouragement of dispersed messages, although they might be better checked for redundancy.
[image] Andy Wai Kit image - From deviant Art
Sadly, I did not have any middle-school-age readers available to read this book for me and report back. Middle-aged? Barely. So, I am left to my own senior citizen take, unassisted by a target demo reader. I would love to see every ‘tween be gifted with a copy of this book, and hopefully a subscription to the series, for Christmas, Channukah or whatever. What greater gift can we as readers offer our kids and grandkids than an introduction to quality writing that is beautiful, welcoming, entertaining and not displayed in pixels? Zizzle sizzles.
Review first posted – November 16, 2018
Publication date – November, 2018
As noted above, I received Issue #1 of Zizzle in return for an honest review, well, reasonably honest anyway. We reserve the right to slip in a few fibs.