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Stuck: Oliver Jeffers

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Appeal: The silly and outrageous nature of this book form the basis of it's appeal. It is a fun and easy book to enjoy over and over and has endless possibilities for continued story telling. Because it is written in a mix of cursive and print it may be a bit harder for younger kids to read it for themselves but it would make a really fun read aloud. Look at the use of shadows in the illustrations. Can you draw some objects and their shadows? Could you draw the same scene at different times of the day? How would the shadows change? She has social cache and money, and is very fond of her daughter (bizarrely called Terence, or Terry) and seemingly satisfied with where she has now ended up. Some people are envious are her, and she seems divinely unaware of it. Certainly she isn’t desperate for a man, as so many single women are in novels of the period, and could perhaps have survived into her dotage without anything upsetting happening. In 2007, Jeffers was the official illustrator for World Book Day, and in 2008 Lost and Found became Oliver's first book to made into animation by London-based Studio AKA. Anyhow when the boy throws a ladder at the kite, my grandson immediately said, 'Why didn't he climb the ladder?' and my response was ''cuz he's a boy in a book.'

Write the story that explains how the different people / animals / objects got themselves out of the tree. Clear Consequences: Floyd's actions have a direct and clear consequence, making it easier for students to grasp the concept of cause and effect. Mr Torrens was certain that only by Midhurst had the poor dear woman ever been kissed, and seeing that fifteen solid years had passed since his death, and that of the eleven years of his marriage ten and three quarters were spent by him in steady unfaithfulness, he considered such a state of things a pity.Make a model of a tree and put some unusual items in it to recreate one of the illustrations in the book. Yes, it is a bit of a jump! But somehow it feels plausible in the novel. What works slightly less well is jumping to another country and another voice – because the first half has been in Martha’s first-person perspective, and the second half (such as that quote above) is from Aaron’s first-person perspective. By changing all the parameters in one fell swoop, it does feel like two very different novels. This was Lynne Reid Banks’ second novel and there are elements that could remind you of her first. The male lead is a Jewish writer, for instance – but the female protagonist, Martha, is nothing like The L-Shaped Room‘s Jane. Martha is a no-nonsense, articulate, intelligent young woman looking for work as a secretary – preferably something literature-adjacent. As the novel opens, she is being interviewed for a job with Aaron Franks. She instantly dislikes him. He has a cruelty to his demeanour and a self-importance as a writer that comes across as childishly arrogant. But he is supported in this by his sister – the real power behind the throne – who believes Aaron to be a genius, and takes against Martha immediately.

What makes William’s Wife such a success is Trevelyan’s ingenious pacing. The reader isn’t spared anything. Day by day, month by month, we follow Jane’s decline. There is little that is dramatic or surprising – instead, she sets up her premise and follows it steadily to its natural climax. The blurb calls it ‘the most normal horror story ever written’, and while blurbs that call their book the ‘most’ anything are to be distrusted, it’s not an inaccurate description. It isn’t scary, in the usual sense of scary. But it is haunting. It is a horror story in the sense that it is horribly believable – perhaps the sort of miserable world behind any number of closed doors. Interestingly, it really reminded me of an ostensibly very different Recovered Books novel – Gentleman Overboard by Herbert Clyde Lewis. Both take an awful situation and play it out slowly, painstakingly to its end. Fairly late in the book, Humphreys shares the short obituary she wrote for her brother, Martin – saying she never chose words more carefully. And it is evident from the writing in Nocturne that choosing words carefully is at the core of her being. I’m quoting the obituary first because it really tells you who Martin was, and what happened to him: It was at this point, on p.17, that I considered giving up on the novel. Nobody speaks like this outside of novels, and Bell and Hervey are tiresome, unpleasant people whose love affair I couldn’t care less about.Lady Midhurst is disbelieving – until she quizzes Terry, who is unrepentant. Terry is a flighty ‘free love’ sort of woman, seemingly conjured from the worst anxieties of late-Victorian male columnists. She doesn’t really see the problem, and it’s hard to know exactly what the reader is meant to make of her. Is she meant to be refreshingly amoral? If so, she comes across instead as extremely selfish and rather stupid. I don’t think she’s the most successful character in The Jasmine Farm. Resolution that Ties to the Beginning: The story ends where it began, with Floyd and his kite. This full-circle resolution aids in understanding the sequence of events. Garner notices things other people wouldn’t – and probably wouldn’t mention, if they did. How often a witness bites their lip, or the look on the face of a juror, or even how bored some people seem during the more technical sections of evidence –‘the air in the court became a jelly of confusion and boredom’: The novel didn’t open super promisingly, in my opinion. Hervey is a failing playwright (my second failing playwright for the 1962 Club!) and meets a beautiful young woman called Bell, short for Belinda. This is their moment of encounter:

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