Posts Tagged stories

Mouse Bird Snake Wolf

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There are some brilliant stories of how things became – take Rudyard Kipling’s Just So Stories, Ted Hughes’ How the Whale Became.

Mouse Bird Snake Wolf, a collaboration between author David Almond and illustrator Dave McKean, is in this tradition. The gods have made the world that Sue, Harry and Little Ben live in. But they’re lazy; they’re up there in the clouds and they’re sleepy. The children can see that there are holes in creation, and sometimes they can see what might go in those holes.

mouse Mouse-Bird-Snake-WolfAll goes relatively well until Harry and Wolf start having wolfish thoughts:
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I love the metaphorical muscle of this book. We live in such a world. A lot is created, but there are spaces left for us to create. Much of what we create is benign, but we have the power to create what is fearsome, destructive.

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We’ve been reading it with the Year 4 classes, and getting the kids to respond to it imaginatively, and the quality of their responses has been good to see. The book is deep enough, resonant enough with what we face outside fiction, for there to be plenty to discuss. The myth is both deep and lighthearted, and the kids entered into it from the first page, filling in the gaps that it’s creators have left.

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On the shoulders of giants

I love it when I’m teaching science or maths and there are stories to tell, stories that unfold some piece of understanding and something human at the same time. Sometimes what humanity has learnt can be recapitulated for an individual learner, and the two syncronise really well.

Such is the case with our work on Galileo this term, which connects really closely with some of the things to learn about forces.

It’s even better if there are actual story-book stories to read. Illustrated ones even. And there are. Three that I found and read with the class, each of them a gem.

Peter Sis’s Starry Messenger is a song of praise to Galileo. It has a surreal feel and the pictures are loaded with metaphor.

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Galileo’s Journal written by Jeanne Pettenati and illustrated by Paolo Rui, tells the story of Galileo’s discovery of the moons of Jupiter in 1609 – 1610.

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And Galileo’s Leaning Tower Experiment, written by Wendy Macdonald and again illustrated by Paolo Rui, tells the story of a little boy from Pisa called Massimo who meets Professor Galileo on the bridge while dropping bread and cheese to his uncle.

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So great to find these books that, in different ways, bring the story of Galileo, and his science, to life!

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The Daydreamer

the daydreamerI’m teaching  Year 4 next year (8 and 9 year olds).  So I’ve started to read books that they might like.

I like Ian McEwan’s The Daydreamer a lot, though maybe it’s a bit too old for most Y4 children. Why too old? Perhaps the element of threat. But then again, maybe it’s OK…

It’s a book about a young boy who’s a daydreamer, dreaming about transformations.

My purpose is to tell of bodies which have been transformed into shapes of a different kind.

Ovid, Metamorphoses

So, in the wonderful chapter called The Cat, Peter discovers something unexpected about his cat:

Looking down through the fur, and parting it with the tips of his fingers ,he saw that he had opened up a small slit in the cat’s skin. It was as if he were holding the handle of a zip. Again he pulled, and now there was a dark opening two inches long. William Cat’s purr was coming from in there.

The choice of Anthony Browne as illustrator is perfect. His detailed realistic images always have an element of the surreal in them, and McEwan’s writing embeds the mysterious in the quotidian detail of family life:

In the big untidy kitchen there was a drawer. Of course, there were many drawers, but when someone said, ‘The string is in the kitchen drawer,’ everyone understood. The chances were the string would not be in the drawer. It was meant to be, along with a dozen other useful things that were never there: screwdrivers, scissors, sticky tape, drawing pins, pencils. If you wanted one of these, you looked in the drawer first, then you looked everywhere else. What was in the drawer was hard to define: things that had no natural place, things that had no use but did not deserve to be thrown away, things that might be mended one day. So—batteries that still had a little life, nuts without their bolts, the handle of a precious teapot, a padlock without a key or a combination lock whose secret number was a secret to everyone, the dullest kind of marbles, foreign coins, a torch without a bulb, a single glove from a pair lovingly knitted by Granny before she died, a hot water bottle stopper, a cracked fossil. By some magic reversal, everything spectacularly useless filed the drawer intended for practical tools. What could you do with a single piece of jigsaw? But, on the other hand, did you dare throw it away?

I think maybe this would be a good read-aloud book, to make the trickier ideas more accessible, and to be together for the weirder parts. The language is, as you’d expect, just right, good to hear.

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childish comparisons

mworry3It was thought-provoking when last week my excellent colleague Russel Tarr was accused by Secretary of State for Education Michael Gove of “infantilising” 14-year old students by asking them once they had finished studying the Weimar Republic, to re-present what they had learnt to younger 10-year old students in the form of their own Mr Men book.

Russel answered the criticism very sufficiently on his popular history site activehistory.co.uk – but I’ve been thinking about one aspect of the business in particular: how and why we use fables.

Russel mentioned Orwell’s Animal Farm, but fables have a long history of being told to portray political events, though that’s may not be their only, or even main, purpose. The Kalilah and Dimnah fables of Persia for instance were in the frame story told by the sage Bidpai to a tyrant as a form of “mirror for princes”, a way to show things as they really were.

The oldest fable in the Bible is a political one, the fable of the Trees and the Brambles, given to discourage the people of Israel from adopting kingship:

Trees_and_brambleOne day the trees went out to anoint a king for themselves. They said to the olive tree, ‘Be our king.’ But the olive tree answered, ‘Should I give up my oil, by which both gods and humans are honored, to hold sway over the trees?’ Next, the trees said to the fig tree, ‘Come and be our king.’ But the fig tree replied, ‘Should I give up my fruit, so good and sweet, to hold sway over the trees?’ Then the trees said to the vine, ‘Come and be our king.’ But the vine answered, ‘Should I give up my wine, which cheers both gods and humans, to hold sway over the trees?’ Finally all the trees said to the thorn bush, ‘Come and be our king.’ The thorn bush said to the trees, `If you really want to anoint me king over you, come and take refuge in my shade; but if not, then let fire come out of the thorn bush and consume the cedars of Lebanon!’

A similar Aesop’s fables is said to have been delivered by Aesop to the Athenians for a political purpose too, the Frogs who Desired a King:

The Frogs, grieved at having no established Ruler, sent ambassadors to Jupiter entreating for a King. Perceiving their simplicity, he cast down a huge log into the lake. The Frogs were terrified at the splash occasioned by its fall and hid themselves in the depths of the pool. But as soon as they realized that the huge log was motionless, they swam again to the top of the water, dismissed their fears, climbed up, and began squatting on it in contempt.

Wm_de_Morgan_storkAfter some time they began to think themselves ill-treated in the appointment of so inert a Ruler, and sent a second deputation to Jupiter to pray that he would set over them another sovereign. He then gave them an Eel to govern them. When the Frogs discovered his easy good nature, they sent yet a third time to Jupiter to beg him to choose for them still another King. Jupiter, displeased with all their complaints, sent a Heron, who preyed upon the Frogs day by day till there were none left to croak upon the lake.

So, why construct a fable? Why not just recount the situation literally, as it “actually is”?

I’m not sure what the whole answer is, but part of it is the power of storytelling to magnetise listeners. Another part is that you can put the actual historical people aside for one moment, with all the positive and negative associations and responses you have to them, while you look at the basic structure of events. And a third thing is that the act of making or recognising the metaphor allows you to see the whole thing newly, freshly and memorably.

Whether the characters in the metaphor are bushes, or frogs or characters from a children’s story is not important – it’s that their relationships and actions to each other hold up a mirror to human affairs. To object that a signifier is a children’s book character is to mistake the container and the content. It would be like objecting to Newton’s f=ma because it uses mere letters of the alphabet to represent physical forces. It’s the truth of the metaphor that’s important.

mr impossibleNow all three reasons for using fables seem to me to be excellent reasons for getting children to use a metaphor of some kind from time to time to deepen and share their understanding of events.

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The New Policeman

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Kate Thompson‘s The New Policeman is adorned not with pictures but with music.

Music runs through the tale, and you can hear some of the jigs and reels on Kate Thompson’s website.

The story, though written with an eye and ear for the detail of life in Kinvara, is a fantasy. Fifteen year-old JJ has to go a lot further from, and a lot closer to, home than he expects to find the time that everyone is so short of.


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Varjak Paw

“There are Seven Skills in the Way of Jalal,” whispered the Elder Paw.  “We know only three of them. Their names are these.  Slow-Time.  Moving Circles.  Shadow-Walking.”

SF Said‘s Varjak Paw is a tale of a pet cat who must grow up, learn to survive Outside, and learn the Seven Skills of his ancestor Jalal. He uses the skills, which he learns from Jalal in his dreams, to help his new street cat friends, Holly and Tam.

As usual David McKean’s illustrations are amazing, and complement the text brilliantly.

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Of the frogge and the crabbe

The frogge vppon a tyme whan she sawe the crabbe swymmynge by the watersyde spake and sayde: “What is he, this so fowle and vncomly, that is so bold to trouble my watyr? Forsomoch as I am mighty and stronge both in watyr and lond I shal go and dryue him away.”

And aftir this saying she made a lepe as though she wold haue oppressyd the crabbe and sayde: “O thow wretche, why art not thow shamefaste to entyr in to my restynge place? Arte not thowe confusyd to defyle the watyr that is so fayre and bright whan thow arte so fowle soo blacke and soo odyows?”

The crabbe as he is vsyd to do went euyr bakwarde, saynge to the frogge, “Syster, saye not soo, for I desyre to haue thy loue and to be at peace withe the. Therfore I praye the entyr not vppon me withe vyolence.”

And the frogge, seynge hym goynge baltwarde beleuid that he had doone soo for fere of her.

Wherfore she began to greue him more and more both with woordes and dedys, saynge: “Withdrawe not thy self, thowe moost fowle, for thow mayst not escape, for this same daye I shall fede fysshes with the.”

And euyn forthwith that same woorde she made a lepe wyllynge to sle the crabbe. The crabbe, seynge the greate iubardye and that he cowde not escape, he tournyd him self and disposyd him to batell and caught the frogge with his cleys and bote her and plukkyd her to smale pecys and sayde:

“He that to batell is compellyd to goo

Let him fight manly with his mortall foo.”

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Another story from the first English version of the Dialogus Creaturarum. The picture is again from Claude Nourry’s 1509 edition printed at Lyon.

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