Posted By Jacob Hope,
01 August 2019
Updated: 01 August 2019
We are delighted to welcome author Chloe Daykin who talks here about her new novel, 'Fire Girl Forest Boy' and launches an exciting competition for National Libraries week supported by Faber Children's Books.
I’ve been lucky enough to go on a couple of amazing trips for writing research. The first was thanks to the inaugural Julia Darling travel fellowship (after the much loved and missed wonderful person and author/poet/playwright Julia Darling). On that trip I travelled up to the arctic circle and beyond, to the Lofoten Islands on a sleeper train, staying in log cabins, swimming in fjords and eating cinnamon buns and salmon and hot potato cakes and seeing what emerged into my second book The Boy Who Hit Play.
Last year I was lucky enough to be awarded an arts council grant to travel to Peru to research my third, Fire Girl Forest Boy. I travelled to shiny white volcanic towns, high altitude lakes, canyons, in rickshaws, buses (so many buses), reed canoes, up through the forest mists to Machu Picchu, the water filled streets of Ollaytaytambo stayed in houses with hot water bottles made from old Inca Cola cartons, soaked in hot springs and drank herbal altitude remedies up high, so high your lungs shrink so small you feel like you’re walking on the moon.
A key thing to me when writing set in different places is people. As much as I like seeing landscapes and places it’s really people for me that matter and it’s them, their food, their culture and honest way of being that I need to soak up. It feels important to be genuine. And personalities for me need to come from a really real place. So, as much I loved it all it was really the people I went for. The people and the food!
I ate rice pudding from carts, hot dripping charcoal roast chicken with sweet purple chicca morada, alpaca, a little bit of guinea pig, alfadores (cookies sandwiched with caramel), passionfruit three milk cake with thick whipped white icing and red tea, and quinoa. Loads of quinoa. My favourite was quinoa porridge from a family up in the mountains. Delicious!
On coming home and getting on with the writing it’s hard to know what’s going to make it in or out.
What I hope that’s made it through into the book is the people’s soulfulness. Their honesty. Integrity. Openness and kindness. I love their belief in magic. And if you belief in something enough you see it around you. I hope I’ve been able to capture some of that.
As a kid I thought the most exciting place to explore was the jungle. Flying over the amazon while eating my inflight dinner is something I’ll never forget. So I hope that’s in there too. A love of the jungle, told at a pace that feels like running through it.. A wild environmental journey through the cloud forests, lawless towns, crisp cities and up into the otherworldly Lima Cathedral - with its art of decapitated martyrs, monsters exploding out of bellies and guinea pig last supper!
Some of the landscapes are remembered. Some imagined. The environmental aspect came later from home based research. I guess if you love a place you want to protect it. So raising awareness of the illegal logging that’s going on (largely un-reported) - that’s effecting Peru so badly right now felt really important.
Just after finishing the novel I read of a man was burned alive in Iquitos (where a chunk of the book is set) for standing up for indigenous communities, against mining and logging. His braveness and courage is humbling. I hope this books brings awareness of this cause in whatever small way it can. Without people standing up for each other we’re sunk. And the people of Peru need standing up for and alongside.
I hope you enjoy the book. When I was writing it I was thinking a lot about Journey to The River Sea, Trash, Matilda, Rooftoppers, Keeper and One Hundred Years of Solitude. So perhaps some of that may have seeped in too.
This week we have the incredibly lovely news thatFire Girl Forest Boy has been long listed for the Guardian’s Not The Booker prize. And I am very proud and honoured! If you fancy a look at the list - for there are many many wonderful books on it - or a vote the link is here.
Before I was an author I started out as an artists/designer//bookbinder and to celebrate the brilliant National Libraries Week (organised by CILIP, the library and information association), in October we’re running a prize of having a library window painted in a lush tropical jungly style (by me!). Simply tweet a pic of your library window with the hashtag #firegirlforestboy #librariesweek to be in with a chance to win. I would love to meet you and make your library look even lovelier! Till then, happy reading and a massive thanks for all the hard and wonderful work you do!!!
Posted By Jacob Hope,
30 July 2019
Updated: 01 August 2019
We are delighted to welcome Tariq Mehmood to guest blog about his latest young adult novel, You're Not Here and to discuss the gaps in the publishing market and how he came to write this.
'There is no greater agony than bearing an untold story inside you.' Maya Angelou,
When I was in my teens, I was homeless in Bradford and always hungry. In those days the Central Library opened 9am-9pm. It had a cafe where my friends often fed me. I spent all day in the library browsing through all sorts of books. I read John Locke and David Hulme, and many other writers who often I didn't even understand. I usually found comfort in the world of fiction of Tolstoy, Harding and others, but felt something amiss in this. It would take me 30 years to realise what this really was: I was fictionally invisible, as were my stories and those of my friends.
In 1981, along with eleven others, I was imprisoned falsely on charges of terrorism in a case that was known as the Bradford 12. We were all acquitted.
If convicted I was looking at two life sentences, plus 14 years. I desperately wanted to leave a record of my story behind, and started write my first novel, Hand On The Sun, whilst in prison. I completed it whilst on bail and sent it to Penguin who published it in 1983. At the time of writing the novel, I didn't understand anything about the tools of fiction, such as character, tension or pacing. I didn't even have an 'O' level in English, and besides I am dyslexic.
Three decades later, I'd had children of my own and as they were growing up, I realised that the world of children's literature was all but white . I began to publish some illustrated books for them, which would eventually lead to me publishing my first YA novel You're Not Proper. Most of us writers don't really know what will happen with our novel if ever we actually finish it. I was lucky and entered the manuscript for the Frances Lincoln Diverse Voices in Children's Fiction Award, which the novel won in 2013. This is set in a Northern English town seething with Islamophobia, where two young girls struggle to find out who they are. I tried to address issues of love, loss, war, racism, tolerance and Identity all with a generous sprinkling of Northern English humour.
Some time after the publication of You're Not Proper, I met a white woman in Manchester, who was vociferously opposed to the 'War On Terror' and had campaigned against it. She was distraught. Her son had joined the British Army and was due to go to Afghanistan. My next novel, You're Not Here, is a squeal to You're Not Proper. In this novel the characters are older, and looks at how the effect of the never ending war working class communities. In this story, one brother goes missing in action in Afghanistan, whilst the other falls in love with an Afghan girl in England. The story is told through Jake, a white boy, the son of an ex-soldier. Jake's love, Leila comes from the same village in Afghanistan where his brother goes missing. This novel tries to bring the war out there, is connected to the strife back home. I really enjoyed writing this novel, as it allowed me not only to deal with complex issues of the infiltration of the British Army by Far Right groups, but also into new depth of working class humour – something I grew up with, and continues to put a smile on my faces in the dark and dreary times.
Posted By Jacob Hope,
15 July 2019
Updated: 15 July 2019
Fiction can be an invaluable way to explore complex and sophisticated issues that influence us individually and as a society. Here Nikesh Shukla, author and editor of The Good Immigrant talks about his latest Young Adult book, The Boxer and some of the, much needed, conversations that he hopes might arise from the book.
I wrote The Boxer because I wanted young people to have the language to talk about the trauma of racism.
When I was a teenager, I was hit by a car, and the driver, angry at me for daring to step out on to a zebra crossing, called me a blind paki. Those words stayed with me. They haunted me. They made me internalise a lot of feelings about what it meant to be an Asian in Britain. Frankly, it ruined my teenage years. I couldn’t see my friends. I couldn’t feel settled. I couldn’t find my feet. It was horrible. I descended into the online world and replaced real friendships with chat room ones. I will never forget that person or that moment. They will not have given it a second thought. And that was the thing that stayed with me.
I didn’t have the language to talk about. I certainly couldn’t talk to my dad about it. He would have laughed and called it Mickey Mouse compared to what he went through in the 60s and 70s. Mum would have reminded me that I needed to study hard because that was the only way to show people.
I’ve dealt with racism my entire life. From overt and obvious and violent, to small and quiet and subtle and insidious. I feel, now, we’re able to have conversations about these issues. Because of books like The Hate U Give and The Good Immigrant and Noughts And Crosses we can have these open conversations about race and racism. I wanted to add The Boxer to that canon. It’s about a kid who is beaten up in a racist attack, and all he wants, in that moment, is the strength to walk away from the situation. He trains with Shobu, who helps him deal with his trauma and also learn how to box. As he learns how to box, he starts to notice that his new best friend is becoming radicalised by the far right.
Keir, his best friend, is not a cookie cutter racist. He is a complicated character, dealing with his own loss and family pressures and sense of isolation. It was important to me to ensure that depictions of racism were as complex and nuanced as our ways of dealing with it. So while this is a book about sport and triumph over adversity, somewhere in there is a conversation about the trauma, the haunting awfulness of racist incidents. I’m so excited to get this book into young boys’ hands, so we can talk about masculinity and sport and mental health, but we can also talk about racism, and bullying and radicalisation and what it looks like.
The Boxer is my attempt to start multiple difficult conversations.
Posted By Jacob Hope,
06 July 2019
Updated: 06 July 2019
The Slovene Book Fair was eye-opening, it was incredible to see the levels of engagement and enthusiasm it generated among the public with schools, families and individuals attending to hear talks, meet with authors, peruse exhibitions of illustration and buy books. Slovenia was under a Socialist regime as part of the Socialist Federal Republic of Yugoslavia. Books and the arts played a key role in helping to preserve the national identity of the country and it feels there remains a great sense of pride and loyalty towards books. Despite this there are concerns about the future. The proportion of books published from the United Kingdom, combined with other media in spoken and written English leads to anxieties about the long-term impact on the Slovene language.
Alongside public engagement, one of the notable elements was the support mainstream media gave to the events with television and radio both present. Sessions provoked lively discussion and attendance and involvement from publishing students meant there were clear succession lines for the industry contributing to an impressively well-structured and sustainable base for the countries publishing and book trades.
The talk I was involved with looked at the role of criteria in book awards, how those are articulated and applied and the impact these have in terms of selection of books. As well as exploring some of the major children's book awards in the UK - the Costa, the Blue Peter, the Federation of Children's Book Groups and the proliferation of regional book awards that take place across the country and are aimed at empowering young people through enabling them a platform for their views and a vote.
Looking at the CILIP Carnegie medal gave pause for thought and the opportunity to think back to the Library Association review of children's literature in 1932 which described 'a few admirable books, submerged in an ocean of trash.' The medals were set up to lobby for change.
During the trip to Ljubljana, an interview took place with a publishing student. One of their questions was what differentiates the CILIP Carnegie Medal. It's a question that has led to much reflection. One of the many answers is the transparency of its processes and criteria. Following on from the Diversity Review for the awards which happened in 2018, this is something that is being evaluated with thanks to the University of Central Lancashire. As one of the last public speaking engagements for 2018, talking at the Slovene Book Fair served was a genuinely upbeat, inspiring and uplifting occasion and one that has certainly given considerable food for thought around the role of book awards and their increased relevance as part of an array of models for recommending and profiling books, stories and information. It was fascinating to be part of the Fair and learn more about how Slovenia's award works and the impact that criteria has upon selection.
Having had the privilege of being her editor on her first three novels, I knew Rebecca Westcott would bring an outstanding emotional depth to a story about girls at boarding school. I also knew that her own background, as well as her work as a primary teacher and special needs co-ordinator, would help her bring a very different perspective to the situation. Alex Antscherl
I was a late reader and nobody could understand why because I grew up surrounded by books and being read to is one of my earliest and happiest memories. And then my mum introduced me to her battered old copies of The Faraway Treeand everything changed. Suddenly I was hungry for more – so I learnt to read, informed my mum that her bedtime-story reading services were no longer required and lost myself in the wonderful world of Moonface, Silky and Saucepan Man.
The Enchanted Wood turned out to be my gateway drug and I was soon desperate to get my hands on all things Blyton. I raced through Amelia Jane and The Naughtiest Girl in the School – my first introduction to boarding school books. The Famous Five followed and then everything screeched to a halt because I discovered Malory Towers and I was completely hooked.
I fell instantly in love with Darrell Rivers and her friends. I borrowed the books from the library and looked for them at jumble sales and, over the course of the next few years, was given the occasional copy as a gift. I didn’t own the full set but the ones I did possess were read and reread and then read again. At one point my mum gently suggested that it might be a good idea for me to expand my reading choices and explore other genres – and by ‘gently suggested’ I mean that one Easter she gave me The Hobbit instead of an Easter egg. I dutifully plodded my way through the tale of dragons and dwarves and wizards but quickly returned to my beloved Malory Towers. I didn’t need a fantasy book because I already had it. As far as I was concerned, everything that Blyton wrote about in those books was one-hundred-percent fantasy and escapism. There was as much chance of a girl like me, living on benefits on a council estate, going to Mordor as there was of me going to Malory Towers…
Being asked to contribute a story for New Class At Malory Towers was the kind of experience that I heartily wished I could have somehow told my eight-year-old self about. Instead, I have written the story that she would have loved to read – a story that suggests that, just maybe, there is a place at Malory Towers for girls who know that midnight feasts and swimming pools hewn out of the cliff and ponies in the school stables are not the norm. A story that aims to promote inclusivity while building on the wonderful world that Enid Blyton created.
Discovering that Narinder was a devoted fan of Enid Blyton was a thrill. Narinder has a fantastic knack of introducing humour into unlikely situations, which I knew would be perfect in a Malory Towers story. I wanted to see girls from diverse backgrounds created by authors from an ‘own voices’ perspective in our new book, and Narinder has incorporated this in a brilliant way. Alex Antscherl
When I was asked to contribute a story to New Class at Malory Towers, I said yes straightaway. I didn’t even have to think about it. Enid Blyton was one of my childhood favourites, although being a precocious reader – like many authors – I’d raced through pretty much all of her books by age eight. I hadn’t re-read the books since then, but I’d lived through the Blyton controversy when her literary merits – or lack of them – and her attitudes to class, race and sex were endlessly debated. Whether she was in favour or not, I’d always had a sneaky admiration for just how very prolific she was, the way she handled different genres of fiction with ease.
Maybe I should have thought more about how to approach writing a new Blyton story. I didn’t. I simply re-read the original six Malory Towers books, then plunged straight in. I’d absolutely forgotten just how laugh-out-loud funny they are, and that was a feature I definitely wanted to keep. I had no particular qualms about recreating Blyton’s style. It’s spare and clear – OK, perhaps a little too spare at times as details are glossed over to keep up the pace – but my main concern was to maintain the integrity of iconic characters such as Darrell, Alicia and Mam’zelle Dupont. I think the characters are the backbone of these stories. All of them are flawed in some way – for example, Darrell and her hot temper – and although the portrayal of Mam’zelle sometimes threatens to tip over into caricature, it’s her warm, upbeat, kindly character that keeps her real.
The plots of the original stories are often very much of their time, and I wanted my story to be something that Blyton herself might have considered writing – an Indian princess in disguise becomes a pupil at Malory Towers! The postmodern, feminist twist on this scenario is my own. Whether Enid Blyton would approve, I don’t know, but it was a joy to breathe new life into these well-loved characters.
With a new collection of four stories from Enid Blyton's popular Malory Towers series, we are delighted that editorial director of Enid Blyton Entertainment has written a guest blog about the series. Look out for upcoming features with authors Rebecca Westcott and Narinder Dhami about their stories in the book.
Boarding-school stories are an enduringly popular genre. The absence of parents and the close-knit communities created in dorms, classrooms and sports fields make it a perfect setting for children’s authors to explore. The Chalet School books by Elinor Brent-Dyer were a success from their first publication in 1925 and Angela Brazil’s books had been popular for two decades by then. Enid Blyton had already written The Naughtiest Girl in the School in the early years of the Second World War when her publisher at Methuen suggested she write other stories in the genre, set in a more conventional girls’ school. Enid Blyton’s First Term at Malory Towers was published in 1946 and she wrote five further books about the school, with the last one being published in 1951. Enid drew on events related to her by her then teenaged daughters, who were boarders at Benenden School, as well as recollections of her own schooldays. Knowing her (second) husband was called Kenneth Darrell Waters and was a doctor, we can see the origins of Darrell Rivers’ name and her father’s profession.
Malory Towers books sold 350,000 copies in English alone in 2018, so we know they still have huge numbers of fans. With a theatre production and a major children’s TV adaptation on the way, Malory Towers is about to be introduced to an even wider audience. When these potential new readers turn to the books, I want them to be instantly drawn in by covers that will appeal to the savvy young girls of 2019. Our brief to the illustrator Pippa Curnick was to use her bright, distinctive style to illustrate girls from the 1940s and ’50s. There’s no pretence that these are contemporary books – no mobile phones or trendy rucksacks. But the new covers are as appealing and relatable now as the friendships and dramas in the plots.
And I felt that today’s readers deserved not just new covers but new stories too. It’s ten years since six extension titles were introduced to the series, following Darrell’s younger sister Felicity through her Malory Towers years. A new book would give journalists and bloggers a talking point, booksellers and librarians a reason to restock, and fans some irresistible new content. I wanted authors who would honour the atmosphere of the original books, introduce new characters from diverse backgrounds who would interact with the original characters, and give us something unique based on their own take on the world. In the next four blogs I look forward to introducing these authors to you as they tell you how they approached this unusual commission.
Posted By Jacob Hope,
08 June 2019
Updated: 08 June 2019
Founded in 1980 by national children's reading charity, the Federation of Children's Book Groups, the Children's Book Award is now in its 39th Year. It is the only National UK Children's Book Award to be voted for entirely by children. Each year an impressive 150,000+ votes are cast, involving nearly 250 schools across the UK.
The winneers have been announced today at a special awards ceremony and Arree Chung's Mixed, a book exploring colour, tolerance and embracing difference has come first. Aree won the Books for Younger Children before winning the overall prize this year. Commenting on his win Arree said, 'It touches me to know that the message of diversity, acceptance and love has resonated with the harts of the youth in the UK. The world indeed is a colourful blend of people and culture.'
Armistice Runner by Tom Palmer has won the Older Reader category and The Dog Who Lost His Bark, written by Eoin Colfer and illustrated by PJ Lynch is named the Books for Younger Readers Category winner.
Congratulations to all of the winners and to the Federation of Children's Book Groups for a superb initiative.
Many of you will know that the Youth Libraries Group has been looking at its governance and communication over the past year. We want to make sure that the group is best positioned to serve the needs of its members and has a stable future. As part of this, we have worked with multi award-winning illustrator Yu Rong in creating a new logo that reflects the work of the group and also includes our name in order that the role of the group can easily be acknowledged when working with partner organisations and on collaborative projects and events.
We are very excited to have had the chance to partner with Yu Rong. She was winner of the Quentin Blake Award for Narrative Illustration, Yu Rong's techniques combines the traditional craft of papercut from the Shaanxi Province of China, together with pencil sketches to create an immediately distinctive style that brings both depth and detail to her illustration. Yu Rong taught in a primary school and went on to study a BA in Chinese Painting and Contemporary Design before moving to the UK in 1997. Yu Rong has worked with the Youth Libraries Group to create a new logo that more directly eflects the aims of the group. We were delighted to work with an llustrator whose artistic style offers readers such a rich visual experience. We are also pleased that Yu Rong involved her ten year-old son in creating the lettering. This feels very much in keeping with the focus of the group. Yu Rong is currently illustrating 'Shu Lin's Grandpa' which will be published by Otter Barry Books in 2020.
"I become an illustrator, as a way to create an imaginative world based on the understanding and passion of the real world. I love children, I was a primary school teacher and was influenced by Quentin Blake when I studied at Royal College of Art. Working with Chinese publishers and publishers in West, gives the variety of the taste of different culture and of team spirit. Often I think people's life experience can easily be reflected in their art work, I do hope the readers can see the integration of my observation of West and East and that we are a big family living on the earth together."
The new YLG logo has been used for the first time in CILIP's new children's supplement 'Pen & Inc' the magazine and listing guide to promote diversity and inclusion in children's publishing. For more information and to see Yu Rong's stunning cover illustration please visit https://www.cilip.org.uk/page/penandinc
The Children's Book Awards run by the Federation of Children's Book Groups and the only National awards where the judging is done entirely by children, have announced their shortlists. We congratulate all authors and illustrators on the lists.
Books for Younger Children
MIXED, written and illustrated by Arree Chung, published by Macmillan Children’s Books The Last Chip: The Story of a Very Hungry Pigeon, written and illustrated by Duncan Beedie, published by Templar The Wondrous Dinosaurium, written by John Condon and illustrated by Steve Brown, published by Maverick What Do You Do if Your house is a Zoo, written by John Kelly and illustrated by Steph Laberis, published by Little Tiger Press
Books for Younger Readers
Funny Kid Stand Up, written and illustrated by Matt Stanton, published by HarperCollins Children’s Books Mr Penguin and The Fortress of Secrets, written and illustrated by Alex T Smith, published by Hodder Children’s Books The Dog Who Lost His Bark, written by Eoin Colfer and illustrated by PJ Lynch, published by Walker Books
Books for Older Readers
Armistice Runner, written by Tom Palmer, published by Barrington Stoke The Light Jar, written by Lisa Thompson, published by Scholastic The Storm Keeper’s Island, written by Catherine Doyle, published by Bloomsbury
Vote online here - http://www.childrensbookaward.org.uk/
Sarah Stuffins, Children’s Book Award Coordinator says ‘Last year saw the Federation of Children’s Book Groups’ 50th year, and more children than ever engaging with the Children’s Book Award. This year’s shortlist really does have something for everything and shows the incredible breadth of talent in the children’s book world. We are in a golden age of children’s publishing - something to be celebrated - and access to books has never been more important. We congratulate all our Top Ten authors and can’t wait to find out who is the children’s choice this year. We’re thrilled to have BookLife on board again this year as our sponsors – many thanks to them and all the publishers who submit books for their support of the award.’