The Incredible Book Eating Boy, by Oliver Jeffers

THE INCREDIBLE BOOK EATING BOY

by Oliver Jeffers

Henry is a little boy who loves books. He doesn't read them, however; he eats them. He eats all kinds of books, but red ones are his favourite. The more books he eats, the cleverer he becomes. He wants to become the cleverest person in the world, so he eats three or four books at a time. Eventually, of course, Henry starts to feel ill. What's more, he has been eating books so quickly that the things he has been learning get mixed up.

All sorts of experts tell Henry that he must give up eating books. At first he feels sad, but then he picks up a half-eaten book and starts to read it. He enjoys it so much that he realises he could become the cleverest person in the world by reading book after book. So this is what he does, but every so often he can't resist nibbling the corner of a page.

Oliver Jeffers has created a totally original story in “The Incredible Book Eating Boy”. It is highly imaginative and full of humour that both adults and children will appreciate. The illustration on the title page of Henry with a pile of seven books cramming his wide-open jaw gives a taste of what is to come. Further on, Henry juggles with books and catches one in his mouth. He imagines taking part in a quiz show and being adorned with a huge gold medal for being the smartest person on Earth. It's the stuff of dreams.

The text of “The Incredible Book Eating Boy” looks as though it has come from an old typewriter, and occasionally hand-written words are inserted. While this sounds a little strange, it does in fact suit the eccentric style of the book. The text is superimposed on the illustrations, and sometimes the background is a little dark. Most pages have only a small amount of text, so young children who do not have a huge attention span will not get bored. The adult readers and slightly older children, however, will get quite a bit of amusement from the little extras that Jeffers has included. When Henry is eating so many books that information in his brain is getting confused, for example, Jeffers gives the example 2 + 6 = elephant.

Oliver Jeffers' illustrations for “The Incredible Book Eating Boy” are unusual to say the least. Backgrounds are predominantly beige or brown and look as though they have been painted on pages of old notebooks. Sometimes ruled lines and squares are visible. Most of the characters are illustrated in a much more colourful way than the backgrounds, so the overall effect is not too dismal. Apart from the colour, however, the drawings are quirky and amusing. Jeffers shows Henry with letters getting mixed up inside his brain, and then presents a picture of him with a bulging tummy crammed full of books. In two of the illustrations, enormous books with faces, arms and legs confront Henry; one of them chases him and threatens to eat him. The final mention that Henry still nibbles pages from time to time is brought home by the fact that the bottom corner of the last page actually has a piece missing from it.

While “The Incredible Book Eating Boy” may not be the ideal choice for young children who are obsessed with princesses or fairies, its originality and humour will appeal to many listeners and readers. As a read-aloud picture book, three and a half might be a suitable starting age. For independent reading, children up to at least eight years of age are likely to enjoy the story as it is not a childish one. Jeffers has come up with a book that young readers are sure to remember and want to read to their own children when they grow up. It is definitely worth borrowing a copy from the library, but the chances are most families will want a copy of their own to keep.

The Incredible Book Eating Boy

by Oliver Jeffers

Paperback, 32 pages

Harper Collins Children's Books, 2009

ISBN 9780007182312

Clown, by Quentin Blake

'Clown' is a picture book – that and only that, as it consists solely of pictures without text. It tells the story of a clown that is dumped in a dustbin along with other unwanted toys. Managing to escape, he is befriended by a little girl, but her mother is less than impressed when she takes him home. She throws him out of the window and he is chased by a dog. Things seem to be going from bad to worse when the dog's thug of an owner tosses him right up into the air. He is in luck, however, as he flies through the window of a poverty-stricken family. After helping the daughter with the chores, he takes her out with her baby brother in a pram to the dustbin where they retrieve the rest of the toys.

I first came to love the illustrations of Quentin Blake through the novels of Roald Dahl that my sons read when they were growing up. I have enjoyed some of his illustrated stories such as 'Mister Magnolia' and 'Mrs Armitage, Queen of the Road', but 'Clown' is the first book of his I have come across that is composed purely of illustrations. Blake has a sketchy, exaggerated style of drawing that may not be to everyone's cup of tea but usually conveys more than enough humour to make it appealing.

In 'Clown', the illustrations are all in full colour; sometimes they fill an entire page with a border, and sometimes they are smaller sketches showing a sequence of events across the page. Blake uses a wide variety of hues in his watercolours, yet they have a subtlety about them. There is, however, one gorgeous full-page picture where the clown, clutching flowers, follows the girl pushing the pram filled with toys and her baby brother. The sky is a shocking pink behind the grey silhouettes of tower blocks and a church spire. The baby, with a wide smile, leans forward in anticipation while the girl is turning back to make sure the clown is keeping up with her. Back home, Blake shows the toys all lined up on the bed; in the same room the table is laid and potatoes are being served in a pan. The iron bedstead, bare light bulb and peeling paint tell us this is a struggling family, yet mum is full of smiles and kisses when she comes home. It is a far cry from the home of the poor little rich girl who rescued the clown earlier; there the room was crammed with ornaments, mirrors and fancy furniture, but there was no appreciation of the clown. Neither did mum seem to care about her daughter's feelings.

'Clown' is a book that could be shared by an adult and a young child in much the same way as a picture book that includes text. If the child is very young, the adult could tell the story as they turn the pages, but a slightly older child could be encouraged to describe what is happening in the illustrations. This would be an excellent way of developing narrative skills, or even basic verbal expression. On the other hand, children that are not yet able to read could enjoy this book alone, following the story without feeling they are missing out on something because they cannot decipher a text.

My own experience of 'Clown' is with pre-school children, but I can see the book being used with children of primary-school age who could write their own text to accompany the pictures. I don't think they would find it too childish; in fact the humour would no doubt attract their interest. It could be an ideal resource for writing character descriptions and dialogue as well as narrative.

'Clown' won the International Bologna Ragazzi Award in 1996. It is not hard to see why. I would recommend it for children of three up to six or seven, older if is used as an inspiration for creative writing.

Clown

by Quentin Blake

Paperback, 32 pages

Red Fox, 1998

ISBN 9780099493617

Price £5.99 (Amazon £4.02)

Captain Flinn and the Pirate Dinosaurs, by Giles Andreae and Russell Ayto

Flinn, like so many other boys his age, loves dinosaurs and pirates. One day at school his teacher sends him to a walk-in cupboard to look for the pens he needs to colour a dinosaur picture. While inside, Flinn hears the sound of a man crying. He is amazed to find Captain Stubble, a pirate, shaking and shuddering on the floor under a curtain. The reason for Captain Stubble's despair is that his ship has been stolen. Flinn offers to help him get it back, and out of nowhere three of his friends appear, all clamouring to join in the adventure.

Suddenly the back of the cupboard falls away and they find themselves on board a pirate ship. Captain Stubble appoints Flinn as the new captain, as he would rather be the cook. Off they sail in search of the lost ship, the 'Acorn'. After a long voyage they spot it through their telescope but are horrified to see that it has been taken over by pirate dinosaurs, with a mighty Tyrannosaurus Rex at the helm. They bravely attack, and soon all the dinosaurs except for T Rex jump overboard. Flinn challenges Tyrannosaurus to a duel, and miraculously keeps going until the dinosaur surrenders. Tyrannosaurus promises to be good from then on, and is so impressed by Flinn that he appoints him as the new captain of the dinosaur pirates.

Flinn, however, suddenly realises he should be back at school. They sail home while Stubble cooks shark's fin stew for everyone. Back on shore the children wave goodbye to Stubble and Tyrannosaurus Rex, then clamber back into the school cupboard. As they creep into the classroom, Miss Pie has just finished reading a story to the class. She wonders what Flinn and his pals have been up to, but they just smile at each other and say, “Nothing really at all.”

Giles Andreae has taken two popular groups of characters in the form of pirates and dinosaurs to create a fast-paced adventure that could hardly fail to be a success, especially among young boys. When I asked a group of four-year-olds which stories they would like to repeat in their drama sessions at the end of the school year, “Captain Flinn and the Pirate Dinosaurs” was one of their three choices. (The other two were Julia Donaldson's “A Squash and a Squeeze” and “Courtney” by John Burningham.) It is easy to see the appeal. It is, however, hard to overlook the parallel with C.S. Lewis' “The Lion, the Witch and the Wardrobe” when Flinn and company fall through the back of the cupboard. Pre-school children of course are unlikely to be aware of this similarity. Even so, whilst there is excitement and a bravely fought duel, the story is neither original nor intriguing. The ending is also somewhat of an anticlimax.

Russell Ayot's illustrations for “Captain Flinn and the Pirate Dinosaurs” are bold, humorous and highly colourful. Tyrannosaurus in his pirate rig-out has evil eyes and deadly sharp teeth, confronting puny Flinn who bravely wields his silver cutlass with a determined expression. At one point we see a fascinating cross-section of the 'Acorn' with almost toothless pirate prisoners tied up below deck, and Tyrannosaurus Rex grinning in anticipation as he watches Stubble (who has a great deal of stubble) stirring the stew. There's even a bemused little blue parrot. Smoke puffs out from the kitchen against a scarlet sky.

“Captain Flinn and the Pirate Dinosaurs” is definitely a read-aloud story rather than a book for a child learning to read. The text is superimposed on the illustrations, usually on a light-coloured background but occasionally on red or blue. Some words and phrases appear in a larger font for emphasis, and one or two are in capitals in a font that looks like handwriting. Exclamation marks abound. A lot of young children are familiar with the names of various species of dinosaur that appear here, such as stegosaurus and triceratops, but that does not of course mean that they would find them easy to read. Phrases such as “All hands on deck!” or “Right, me hearties” lend authenticity to the pirate theme, but here again originality is sadly lacking.

“Captain Flinn and the Pirate Dinosaurs” is a particularly lively book that is more than likely to hold the attention of children, especially boys, aged from three up to six or perhaps seven. It is not the greatest, most imaginative story, but children of that age may not be so critical. One or two of the illustrations could be frightening for a very young child, but on the whole they are amusing and bring the story to life. This is a picture book that may not be the favourite for the adult reader, but could be very popular with a child that loves action with pirates or dinosaurs or both.


Captain Flinn and the Pirate Dinosaurs
Giles Andreae (Author) and Russell Ayto (Illustrator)
Puffin, 2006
Paperback, 32 pages
ISBN 9780140569216
Price £6.99 (Amazon £4.99)

Oi! Get off our Train - John Burningham

A little boy dressed in his pyjamas is scolded by his mum as he is still playing with the train on the floor at the end of his bed. He is told to go to bed at once, and mum gives him his pyjama-case dog to cuddle. There's no goodnight kiss, however, just an order to “settle down and go to sleep”. The boy obeys.

The next two pages show a double-spread of the toy train chugging off, with smoke billowing out of the engine's chimney. Turn over again, and the boy is seated in the engine, wearing his pyjamas and a cap. The dog, also sporting a cap, is shovelling coal into the furnace. The train speeds along over great bridges, puffing out grey smoke, and the boy thinks they might have time for a picnic. Then he notices that it looks as though it's foggy ahead and says they could play ghosts if it is.

Suddenly, an elephant boards the train, but the boy and the dog say in no uncertain terms, “Oi! Get off our train.” The elephant, however, very politely begs to be allowed to stay on the train as someone wants to cut off his tusks, and soon there will be no elephants left. He stays on and sprays the dog with a huge jet of water when they stop for a swim. It looks like great fun.

After this several other animals try to board the train: a seal, a crane, a tiger and a polar bear. Each one is initially told “Oi! Get off our train.” But each animal has a reason to stay: too many fish are being caught, forests are being cut down, marshes are being drained. Lots of fun is had during the journey, flying kites, throwing snowballs, and messing about with umbrellas.

Suddenly the boy realises that they will have to head home so that he will be in time for school in the morning. We see him tucked up in bed and mum comes to tell him to get up straight away. It must have been a dream, or was it? Mum says there are animals all over the house: an elephant in the hall, a seal in the bath, and so on. She wonders if it has anything to do with the boy.

'Oi! Get off our Train' is a delightful story in which John Burningham cleverly brings in the message that these animals are all endangered species. It is an original way of combining an imaginative tale of a boy and a toy dog speeding off on an adventure with the idea that the animals need help because their numbers are dwindling. Burningham makes sure that there is plenty of play and fun throughout so that the story will have sufficient appeal for a young child.

This is an easy book to read aloud with the text in a clear, large font and just a few lines – sometimes only one – on each double page. Although the vocabulary used is straightforward, I wouldn't recommend it as a book for a very young child who is learning to read by phonics. It could, however, be popular with children up to the age of seven who are independent readers and might enjoy reading the story aloud to a younger sibling.

John Burningham illustrates his picture books himself, and the illustrations contribute enormously to 'Oi! Get off our Train'. They are watercolour/pastel sketches that use a great variety of colours to create different moods, from the sun-filled scene of kite-flying to the black and gold sky of the double page that shows the train steaming home again. The animals take on human qualities as they stand upright, either to tell the latest arrival to get off the train or to hold up umbrellas. At one point we see the dog taking a break from shovelling coal: he has removed his cap and is mopping his brow with spotted red handkerchief. Burningham is one of my favourite illustrators, but I know there are those who prefer the more up-to-date work of, for example, Lauren Child.

I have successfully used 'Oi! Get off our Train' in drama sessions with small groups of four-year-old children. I thought the title might be considered rude and I'm expected to be teaching these little ones how to be polite, so I suggested we say 'Hey! Please get off out train' as an alternative. The story does lend itself well to drama as most children enjoy pretending to be animals as well as chugging round the room making steam train noises. If there are too many children in the group there is no harm in having two elephants, two seals, and so on. To be honest I'm not quite sure how well they understood the idea that the animals were endangered species, but if you are reading the book aloud to just one or two children it might be easier to emphasise this and talk more about it.

'Oi! Get off our Train' may appeal slightly more to boys than girls, as the main character is a boy and boys are perhaps more likely to be interested in trains. It is, however, a delightful story, and the animals and sense of adventure should make it a book that any child will enjoy. For anyone interested in explaining the idea of endangered species to young children, this book is an ideal way of approaching the subject since it weaves the message into a story. I would highly recommend it.

Oi! Get Off our Train

by John Burningham

Paperback, 46 pages

Publisher: Red Fox, 1991

ISBN 009985340X

Price £5.99 (Amazon £3.97)

Romp in the Swamp, by Ian Whybrow and Adrian Reynolds

Harry and his bucket of dinosaurs are not looking forward to going to play with a girl called Charlie. There's no way out, however, as Mum and Nan are taking Harry's big sister Sam to visit her new school. The dinosaurs are hiding because they are afraid that Charlie will manhandle them, but Harry assures them that he won't let her touch them. Into the bucket they go, and Harry gets into the family car. Poor Nan has to sit between Sam and Harry because they don't exactly get along well together.

When Harry is dropped off at Charlie's house, he hides the bucket of dinosaurs behind his back and looks rather glum. The two children go indoors and sit at opposite ends of the sofa with their toys. But Charlie soon gets up and starts filling a big basket with toys, cushions, boxes, string, and even plants. It looks so interesting that Harry and the dinosaurs go after her into the garden to see what she's up to. The dinosaurs realise straight away that Charlie is making a primeval swamp, and the garden hose is hissing away, just like an enormous snake.

Lots of fun ensues, during which Tyrannosaurus has to be rescued from the snake's deadly grip and the basket serves as a cage to capture the snake. The children and the dinosaurs end up having tea in the garden, and by the time he is picked up Harry has decided that he – and the dinosaurs, of course – would definitely like to come back and play with Charlie again.

'Romp in the Swamp' is one of a series of books about Harry and his bucketful of dinosaurs that are hugely popular with young children, partly because they tie in with a television series too. Author Ian Whybrow's books usually deal with situations that children might find very daunting, such as the first day at school or a visit to the dentist, and show that they can turn out to be enjoyable rather than something to worry about. 'Romp in the Swamp' is obviously no exception, as a young child could feel very nervous about going to a strange house to play with another child he doesn't know while the rest of his family have gone somewhere without him. The story is full of fun and might help to reassure a child that going to visit another family should be an occasion to look forward to. It's also a story that shows young children having a great time with imaginative play.

The text is in a large, clear font and there are rarely more than four lines per page, superimposed on a light-coloured area of the illustrations. There are of course names of dinosaurs such as Apatosaurus and Scelidosaurus, but I often find that young children are pretty good at learning these, partly because they just love dinosaurs. Other than these names, the vocabulary used is straightforward, but this is essentially a picture book for reading aloud. Because it involves dinosaurs and is so entertaining, it might still appeal to a confident young reader of perhaps six years old to read independently or share with a younger sibling.

Adrian Reynolds' illustrations for 'Romp in the Swamp' are bold and colourful, mainly using primary colours with plenty of green. They fill the pages and more often than not are double spreads. The dinosaurs always have suitable facial expressions, often open-mouthed, and always enthusiastic when things are exciting and fun. The garden hose 'snake' is a red and yellow striped one that stands out perfectly against the grass and leaves, as well as the blue plastic basket used to capture him.

It is hard to go wrong with picture books about dinosaurs with most young children, and I have always found that Harry and the bucketful of dinosaurs have a tremendous appeal. I have used 'Romp in the Swamp' as the basis for a drama session with four-year-olds, and they love pretending to be dinosaurs, especially when they can 'Raaaah!' This is a book I would definitely recommend, perhaps for children as young as two. It's great fun to read aloud.

Doing the Animal Bop - J. Ormerod and Lindsey Gardiner

Picture books often have a simple story line with a strong rhythm and plenty rhyming words: Doing the Animal Bop by J. Ormerod and Lindsey Gardiner begins 'If you like to dance and you sometimes sing, Why don't you do the animal thing?' It is hard for children to resist the urge when this is read aloud to get up and try to move in the same way as each animal that appears in these pages, jiggling and jiving, waddling like a duck or stomping like a rhino.

This is not really a story at all, more of a poem that introduces a series of animals, one on each double page, concentrating on the way they move and the sounds they make. As well as rhyme, there is onomatopoeia in the 'Craak, craak, craak' of the penguin song, and alliteration in the 'flim-flam flutter of the ostrich flounce' or the monkeys' 'jive and jiggle'. The hissing of the snake is exaggerated in the line 'you can ssssssing this ssssssong'. The chickens peck and cluck whilst the rhinos roar and rage.

On the final pages the line 'so let's end up with a great big mooo!' (because the cow can only chew) becomes so familiar that children love to join in. There is after that one more double-page illustration of the animals in silhouette dancing off into the night under the pink stars in the dark blue sky. It's as though they are off to party all night.

Both rhyme and rhythm come through in no uncertain terms, creating a lively pace. This is an ideal book to encourage children to get up and move, exercising and trying to stomp, waddle, jive or slither like a snake. You can imagine that it's probably not the best bedtime story, unless you want your child to run off a little more energy before slipping under the covers.

I absolutely love the use of colour in Lindsey Gardiner's illustrations. The backgrounds in particular are striking, and all are different colours. A pink elephant trudges along against an orange background, whilst a pale green lizard moves on a salmon pink ground. The ostrich seems to have borrowed Winnie the Witch's stripy tights, bouncing and flouncing on a deep pink background. In each picture there is a tiny mouse with a yellow tummy and tail; we meet it right at the beginning, and children can have fun spotting where it is on each page throughout the book, as it frequently tries to imitate the other animals.

This is a feast of language and colour, and a delightful way of teaching very young children about the sounds and movements of different animals. Recognising rhyming words is said to be a fundamental precursor to reading, so that is one more reason to make this an ideal book to read aloud, perhaps to children as young as two. It may not be the easiest book for a young reader to tackle, unless a particularly confident one is looking for a challenge. If you are looking for a book that will impart a love of the sounds of words to your children and at the same time get them out of their seats, this could be the ideal one.

Doing the Animal Bop

J. Ormerod and Lindsey Gardiner

Oxford University Press

Paperback, 32 pages

ISBN 0192791400

Price £5.99 (Amazon £4.49)

But excuse me that is my book - Lauren Child

Charlie and Lola are off to the library, and Lola announces that she must borrow her favourite book, 'Beetles, Bugs and Butterflies'. When Charlie comments that Dad took it out for her last time and the time before that, Lola explains that it's the best book because 'the bugs are quite buggy and the butterflies are really beautiful and the beetles are... very silly'.

Once they are at the library, big brother Charlie does his utmost to keep Lola quiet and suggests she look for her special book amongst all the books beginning with B. Lola is quite distraught when she can't find it, and she won't accept Charlie's explanation that someone must have borrowed it. She considers it to be her book. Charlie tries to persuade her to have a look at a few other books, but Lola protests that the one about the Romans has too many big words and the pop-up book with cherry blossom rain just isn't funny. Charlie realises that he will have to find an animal book that will make her laugh, and he shows her 'Cheetahs and Chimpanzees'.

Just then, Lola is shocked to see a girl walking off with 'Beetles, Bugs and Butterflies'. She finds it hard to accept that anyone else can take it out. She has no choice but to give 'Cheetahs and Chimpanzees' a go, and thankfully she finds it to be wonderful. In fact, she says it has the best pictures ever and thinks the chimps are very funny. Charlie must have breathed a big sigh of relief.

This may not be the best or most popular of Lauren Child's Charlie and Lola books, but it is the perfect one to introduce a young child to the idea that when you bring a book home from the library it doesn't actually belong to you. It is also ideal for perhaps persuading your son and daughter to be open minded and try different books or toys, particularly when one they are obsessed with is lost or broken. They might discover something even better when they try something new.

Lauren Child illustrates all her stories herself in her distinctive style. She uses vibrant colours throughout, and the page where Lola talks about her favourite book is dotted with patterned butterflies and a row of wide-eyed bugs marching along. When she finally looks at 'Cheetahs and Chimpanzees', Child uses photo-montage to show her standing in a jungle setting with the book while a friendly grinning monkey watches her from each side.

The text is usually superimposed on the illustrations, and on one or two pages in appears in mauve or pale blue on a black background. Sometimes lines of text curve around the pictures, and the font can vary in size to emphasize particular words or phrases. In some instances, the individual letters of a word jiggle playfully up and down. Lauren Child has Lola speaking at times in an amusing, ungrammatical way that might be typical of a young child, for example when she says that 'Beetles, Bugs and Butterflies' is a 'very great and extremely very interesting' book.

While 'But excuse me that is my book' is an ideal book to read aloud, the creative use of the text does not make it an easy one for a child that is just learning to read. An older sibling, however, who is a confident reader, would probably enjoy reading this to a brother or sister. Many of them are likely to identify with Charlie and not find the book too childish.

I often read picture books aloud to groups of children aged three and four, and if I give them a choice I almost always find that a Charlie and Lola book is asked for. This one is unlikely to appeal to two-year-olds, but might still be approved of by children of five or six. Although it may not be the best in the series, I don't think you can go wrong borrowing a Charlie and Lola story from the library and then deciding if it is worth buying. If I have grandchildren one day, I hope I will be able to enjoy reading 'But excuse me that is my book' aloud to them.

But excuse me that is my book

Lauren Child

Paperback, 32 pages

Puffin 2006

ISBN 0141500530

Price £5.99 (Amazon £3.99)

The Rattletrap Car - Phyllis Root and Jill Barton

During the National Year of Reading, I thought I should look for some different books to read aloud at the nursery where I work. I found just the book to inspire me at my local library: Rattletrap Car, by Phyllis Root, illustrated by Jill Barton.

Why did it take me so long to discover this wonderful book? What if I never had? My experience of the English language would have been so much the poorer. How have I been working with young children for so long and not known of the existence of razzleberry dazzleberry snazzleberry fizz? Thankfully now I do, and I also understand to what uses chocolate marshmallow fudge delight can be put.

The story of Rattletrap Car revolves around Junie, Jakie, baby and Dad. Mum is not mentioned at all, but they seem to muddle through without her. The story starts as Dad is tending to the chickens on their farm. A pig looks on, and Junie, Jakie and the baby, sitting on the ground and feeling the heat, decide that it would be a good idea to go to the lake. Dad, however, surveys their rattletrap car and is concerned that 'it doesn't go fast and it doesn't go far'. The children aren't taking no for an answer, however, although Junie and Jakie are polite enough to say 'Please, please, please!' Baby just cries out 'Go!'

Dad knows he must give it a try, so he packs the aforementioned fizz and fudge delight. Junie brings her enormous beach-ball, and Jakie a surf-board that's about twice as long as he is tall. Baby naturally has a 'three-speed, wind-up, paddle-wheel boat'.

As their journey begins, we are treated to a feast of onomatopoeia: 'Clinkety clankety bing bang pop!' Then disaster number one strikes as a tyre goes flat. Junie is not fazed; she replaces the flat tyre with her beach ball, sticking it in place with chocolate marshmallow fudge delight. It's the obvious thing to do.

Off they go again, 'clinkety clankety', but every so often another part of the car falls off. No problem: they improvise and replace it with one of the other things they have brought along. Each time they get going again, we are treated to another burst of onomatopoeia, be it 'wappity bappity', 'fizzelly sizzelly', 'flippita fluppita', or a combination thereof.

If you want to know whether or not the car survived the journey all the way to the lake and home again, I'm sorry, but you will just have to read the book for yourself.

This is an amazing book to read aloud to young children. The lettering is in red in a large font, but I wouldn't recommend it for emergent readers as they might get a complex struggling with words such as 'bappity', 'rattletrap' or 'bumpety'. It will be as much a delight for most adults as for children, so it is a book to be enjoyed together, savouring the wonderful sounds that Phyllis Root has conjured up here. This is magical language.

Jill Barton's colourful illustrations fill every page and make this book a visual treasure as much as a linguistic one. A little flock of sheep comes along to gaze dumbfounded at one of the problems the family is having, and rabbits look on under a moonlit sky at the end of the story.

This is one book that Dads who take the children out on their own for the day can have a great laugh over. Not being a driver or a mechanic myself, I cannot vouch for the solutions the family finds for their broken car, but I think I can safely say don't try this on your way to the lake when your car breaks down...

For the joy of the language and the drawings, as well as the idea of using your imagination and improvising when things go wrong, this is a book that will provide entertainment again and again. It also demonstrates how family members can work together to overcome obstacles and not give up the minute a problem arises. Although aimed at young children, I think anyone who can read English and has a love of language and books should read this one.

Rattletrap Car

by Phyllis Root

illustrated by Jill Barton

Walker Books, 2002

Paperback, 40 pages

ISBN 0744589320

Chocolate Mousse for Greedy Goose - Julia Donaldson and Nick Sharratt

It might seem a strange idea, a band of animals ranging from a gazelle to a moth getting together to have a meal of macaroni and carrots followed by chocolate mousse, but in the realm of children's books anything is possible. Julia Donaldson has in fact created a wonderful book bursting with rhyme, adjectives and the idea of differing personalities in Chocolate Mousse for Greedy Goose. The title is actually based on a line from one of the pages and the alliteration probably makes it the most obvious one to have been chosen.

On each page we meet a different animal, and there is one line of text at the top where the animal makes a comment on the meal they are having, such as 'Carrots – yuck!' says fussy Duck, or 'I'll lick the bowl,' says furry Mole. Most of the animals are described by an adjective: Rabbit is angry (because Goose has grabbed the mousse), whereas Moth is happy (because he can eat the cloth when all the food is gone). After the meal, helpful Pup suggests washing up, but lazy Sheep thinks it would be much nicer to have a sleep. On the final double page we see all sixteen animals snoozing on the sofa under a patchwork quilt.

The idea of all the animals being together is suggested in the illustrations, where on the extreme left-hand side we see part of the animal from the previous page, and on the extreme right-hand side is a little bit of the next animal that is coming up. Nick Sharratt's illustrations are bold and attractive for young children (although I was looking at this book alongside 'Doing the Animal Bop' and didn't find the colour scheme worked quite as well, but perhaps I'm just a fussy duck). I do, however, appreciate the expressions that he has given to the animals according to their different moods and feelings.

For me this is a super book in terms of language, especially the rhyming patterns. The adjectives too contribute a good deal, and it would be interesting to ask a young child why the white Swan is sad or why the Cow is busy. For a slightly older child, you could play a memory game after reading the book, asking which animal was shy or which was fussy, or even how the Moth was described. Because it is so concise and contains so many rhymes, children around the age of four are quite likely to memorize parts of the text or perhaps the whole book. For very young children, it is an excellent way of helping them to learn what various animals look like and it could be interesting as a tie-in with a visit to a zoo. Slightly older children might have fun trying to remember all sixteen animals after the book has been closed.

This is a very short picture book based around a clever idea and presented in an excellent way in terms of both language and illustrations. It could be read aloud to children aged from two upwards. For young independent readers, there are a few tricky words, but the illustrations will of course be a great help in enabling them to work out the names of the animals. I definitely recommend this for children aged between two and five, possibly six, and the Amazon price of £3.49 is excellent value.

Chocolate Mousse for Greedy Goose

by Julia Donaldson and Nick Sharratt

Macmillan Children's Books, 2006

Paperback, 24 pages

ISBN 140502190X

Price £5.99 (£3.59 on Amazon)

The Three Wishes - David Melling

When a king and queen go away for a few days and appoint their knight and his horse as babysitters to the prince and princess, it sounds like an easy task. Soon, however, the knight and his steed find there is too much tidying up to do, and the knight says he would rather fly out into a 'night of surprises' than babysit any longer. The horse is afraid that magic might indeed make them fly out of the window, and it does.

Outside, they land on top of an old lady riding a donkey. Her bag of spells spills, so she offers the knight and his horse three wishes if they can catch the spells for her. This is another task that is not so simple, but they manage it. The grateful old lady and her donkey vanish in a puff of smoke, leaving magic in the air.

Unfortunately, one extremely naughty spell is still on the loose. It teases the poor knight, making plants grow out of his hair. He asks the horse to make a wish, but the horse thinks of himself and asks for a bucket of carrots and some fluffy slippers. The knight says, 'I wish you hadn't done that,' thus squandering the second wish. He and his horse are not pleased with each other, but they agree to make the third wish together. Oh dear, the knight then has carrots growing from the extremely long plants in his hair, along with the fluffy slippers on his feet. The horse ends up wearing the knight's armour but the knight soon gets it back. The horse trims the unruly carrot plants into a neat shape, but they just grow back again. Fortunately, the prince and princess hear all the noise and come out to see what is going on. They simply pull the carrot plants out by the roots and lead the knight and his horse back inside the castle. The next day finds them all busy doing some DIY and happily play acting. Babysitting doesn't seem so bad after all, although the horse secretly wishes he could have those carrots and fluffy slippers again.

'The Three Wishes' is not of course the first story about being granted wishes and wasting them, but David Melling serves up his version with originality and plenty of humour. His illustrations are always a delight. As the story starts, you feel almost as though you are turning the pages of a mediaeval manuscript. At various stages of the book, we see the knight with a banana skin on his head, a carrot tree growing out of his hair, and down on his hands and knees giving the little princess a ride on his back. The colour scheme throughout centres around autumnal greens, oranges and browns, although the old lady wears a blue dress and the princess has a pink nightie. The horse in his various ridiculous situations will be a great source of amusement for any child.

The text is in a large, clear font and usually on a white background. When it is superimposed on an illustration it is always on a light colour to make for easy reading. There are never more than a few lines per page, but occasionally the lines swirl around, following for example the movement of the really naughty spell. This is of course a read-aloud book, but because of the strong element of humour I'm sure that young independent readers would enjoy it too.

'The Three Wishes' is a sequel to Melling's 'The Kiss the Missed' and 'Good Knight, Sleep Tight', both of which are also very popular with three- to four-year-olds. This is a lovely series that most adults will enjoy sharing with young children. I borrowed a copy of 'The Three Wishes' from the library, but I would say that it is worth buying and could make a great Christmas present. If your family hasn't yet enjoyed the magic of David Melling's picture books, I would definitely encourage you to do so.

The Three Wishes

David Melling

Paperback, 32 pages

Hodder Children's Books, 2008

ISBN 9780340931530

Price £5.99 (Amazon £4.49)

The Gruffalo - Julia Donaldson

Although entitled 'The Gruffalo', the star of Julia Donaldson's story is actually a tiny, but very clever little mouse. This mouse seems capable of outwitting any creature in the wood who has designs on making a meal of him.

As mouse takes a stroll through the wood, he meets a fox, an owl and a snake in turn. Each of them invite him back to their lair for either lunch, tea or a feast. Mouse knows full well, however, that they intend to eat him up, so he tells each one that he is meeting a gruffalo for a meal. The other creatures have never heard of a gruffalo of course, so mouse gives them a few details about his appearance to frighten them. Amongst the gruffalo's features are terrible claws, a poisonous wart on the end of his nose, and purple prickles on his back. When each animal is sufficiently scared, the mouse says what the gruffalo's favourite food is. It is not always the same, according to mouse: to fox he says it is roasted fox, to owl he says owl ice cream, and to snake he says scrambled snake. Each time this produces the desired effect of making the animal in question flee and leave little mouse alone.

As mouse continues his stroll, however, he comes face to face with the gruffalo! He is initially panic stricken, but when the gruffalo says the mouse is his favourite food, it doesn't take our tiny hero long to come up with a plan. He tells the gruffalo that everyone is terrified of mouse, and that he can prove it if the gruffalo would care to walk behind him through the wood. The gruffalo, apparently not the brightest creature, is completely taken in and follows mouse back through the wood. When they encounter snake, owl and fox, each one is alarmed by the sight of the gruffalo and disappears in a flash. The gruffalo is convinced that they are afraid of mouse. When mouse eventually announces that his favourite food is gruffalo crumble, the gruffalo cannot get away fast enough. Mouse is all by himself in the wood, having escaped his enemies, and he finds a great big nut to eat.

The charm of 'The Gruffalo' is not just in the story itself but in the delightful verse that Julia Donaldson has used as a means of imparting it to her readers. Almost the entire tale unfolds in rhyming couplets with a strong rhythm that is particularly well suited to reading aloud. As well as alliteration, there is plenty of repetition of phrases used each time mouse meets a different animal. Young children will find it easy to join in here and there as they get used to hearing the same line every so often. The font is very clear; although there is some use of italics, most of the text is printed on a white background to allow for easy reading. There are just a couple of instances where the text is on a yellow-orange background.

Axel Scheffler has provided wonderful illustrations for the story. There are several double-page spreads, including the one where an astonished mouse encounters the fearsome gruffalo, and three full-page pictures. The remaining pages have smaller illustrations, but all are in full colour. Young children will find the expressions of the animals delightful. As well as the main characters, there are a woodpecker, a kingfisher, a frog, a squirrel, a dragonfly and others to look out for.

'The Gruffalo' is intended mainly as a read-aloud picture book for children of three upwards, but could also be suitable for young independent readers. The vocabulary is varied but not too challenging, and the repeated phrases will encourage those who still lack confidence. Although the gruffalo is a large, scary animal, Scheffler depicts him in such an appealing way that young children are unlikely to be genuinely frightened by him. It might, even so, be advisable to read this during daylight hours rather than introducing it as a bedtime story.

Julia Donald has created a masterpiece of a story in 'The Gruffalo', and the book was winner of the Smarties Book Prize Gold Award for children aged 0-5 in 1999. Axel Scheffler has obviously played an important part in the success of this picture book as well. 'The Gruffalo' is a must in any household with young children, as it is likely to appeal equally well to boys and girls. Preschool classrooms are sure to have a copy for reading aloud as well as to provide inspiration for drama sessions. Highly recommended.

The Gruffalo

Julia Donaldson (author), Axel Scheffler (illustrator)

Macmillan 1999

Paperback, 32 pages

ISBN 0333710932

Price £5.99 (Amazon £3.59)

Where the Wild Things are - Maurice Sendak

'Where the Wild Things are', written and illustrated by Maurice Sendak, must be one of the most popular picture books of the last fifty years. Winner of the Caldecott Medal for the Most Distinguished Picture Book of the Year in 1964, it doesn't seem dated at all forty-five years later and maintains its appeal to children of a wide age range.

Max, not a big boy by any means, dresses up in his white wolf suit and gets into so much mischief that he is sent to bed with nothing to eat. First a forest grows in his bedroom, and then an ocean appears with a private boat for Max to sail in. After a year he comes to the place where the wild things are. Unabashed by their roaring, gnashing of teeth and showing of claws, he tames them and becomes their king. Having had fun with them, he sends them to bed without any supper. Max then realises how lonely and hungry he is and insists on sailing home. Back in his room after another long journey, he finds his supper there, ready and waiting for him.

Does Max fall asleep for a while and dream about the wild things? Or does his imagination simply run riot? Whatever the answer may be, almost every child can identify with Max. The urge to dress up and be naughty, the defiance on being sent to bed without supper: Max will arouse sympathy. He becomes a hero when he shows no fear on encountering the wild things and is crowned as their king. He is then the all-powerful one who can send them to bed hungry. What a position to be in. Or is it? He is a little boy after all, and adventure is a wonderful thing but when it's over he wants the comforts of home. It's all so reassuring; you can go home when you're ready and food will be there.

Maurice Sendak's illustrations for 'Where the Wild Things are' make a huge contribution to the book. Before the story begins, the title page shows a valiant Max chasing two wild things that are much bigger than him. One of them has a stripy jumper, scaly legs, long claws, a ridiculously long tail, and horns. The jumper just takes the edge off his potential to scare. Max is seen sailing the ocean and encountering a sea dragon, dancing in the moonlight, hanging from a tree alongside the wild things. Colours are muted pinks, browns, yellows, greens and blues. The brightest thing is Max's sailing boat with its red hull and yellow sails. Many of the pictures feature painstaking cross-hatching, including the entire double-page spread of jungle flowers at the beginning and end of the book.

The design of the book as regards the balance of text and illustrations is particularly fascinating. On the first eight double pages, the text appears on a white background on the left-hand side whilst the picture is on the right. The first picture takes up less than half a page, but the size of the illustrations increases gradually until on the eighth page it covers the whole of the right-hand side as well as about a third of the left-hand side. On the following three double pages, the picture spreads right across the width and the white border at the bottom becomes narrower and narrower. The text appears in this border on both sides of the page. There are then three double pages that consist entirely of illustrations that show Max and the wild things enjoying their rumpus. These present an ideal opportunity for the child that has been listening thus far to fill in this part of the story or talk about it to the adult who has been reading. The last few pages of the book reverse the process of the first section, until we have a white page with text on the left and a whole-page picture on the right. The final page of the story has just a half sentence of text and no picture at all, as if to finish on a teasing note.

'Where the Wild Things are' is a wonderful story to read aloud to children from the age of three upwards, and by the time children are able to read themselves it is likely that they will still have an interest in this book. The fact that the text is printed throughout on a white background in a bold font makes it very clear to see. There are never more than three lines of text per page, so a young reader will not be discouraged by large blocks of text. There are, however, some extremely long sentences that run from one page over to the next.

Maurice Sendak's story can also lend itself readily as a resource for drama sessions with groups of young children. They will delight in pretending to be wild things that roar, roll their eyes and show their frightening claws. They can bow to Max, dance and play with him, then try to scare him again as he prepares to sail home.

Children who enjoyed this book when it was first published in 1963 have no doubt taken pleasure in reading it again to their own children, and perhaps even one or two grandchildren by now. The combination of fantasy, adventure, mischief and finally seeking home comforts have made 'Where the Wild Things are' a classic picture book that is likely to remain a favourite for many generations yet to come.

Where the Wild Things are

Maurice Sendak (Author, Illustrator)

Paperback, 48 pages

Red Fox, 2000

ISBN 9780099408390

Price £5.99 (Amazon £4.49)

Splat the Cat - Rob Scotton

Splat the Cat wakes up early on his first day at Cat School. He is worried about starting school and makes all sorts of excuses for not going: he's having a bad hair day, or the gate won't let go of his fingers. Mum, however, has an answer for everything, so he makes sure he has his pet mouse, Seymour, in his lunch box for company, and off they go.

Arriving at school, Splat is welcomed by his teacher, the buxom Mrs Wimpydimple, another feline of course. The other cats in the class (who all seem to be grey whilst Splat is black) give Splat a friendly welcome. Mrs Wimpydimple begins her lesson about cats – what else? - on the blackboard. When she mentions that cats chase mice, however, Splat wants to know why but doesn't let on that he has a pet one in his lunch box. Splat asks why so many times that Mrs Wimpydimple sighs and announces that it is time for lunch.

When Splat opens his lunch box and his classmates notice Seymour, they immediately start to chase the poor mouse. Seymour frightens them by hiding behind a glass bottle that magnifies his face and makes him look like a monster. They flee, Seymour chases them, and they all knock poor Splat flat on his back. To calm them down Mrs Wimpydimple declares that it is milk time, but she cannot open the milk cupboard. Seymour saves the day when he finds a tiny hole through which to enter the cupboard and is able to open the door from inside. His skill and resourcefulness prompt Mrs Wimpydimple to write on the board 'Cats don't chase mice', which rouses a cheer from the class.

Mum comes to take Splat home and on the way he tells her that he has made lots of friends. The following morning when he wakes up his tail is wiggling with excitement rather than the worry of the previous morning.

Rob Scotton, of 'Russell the Sheep' fame, has created another character and story full of delight and humour in 'Splat the Cat'. Whilst not being the first book on the trauma of starting school, this is an original take on the idea. The cats behave like typical cats in some ways, but Scotton depicts them as people who wear clothes, ride bikes and walk on two legs. Strangely enough, Splat himself doesn't wear anything, except that he has a small red helmet when he is on his bike.

Scotton's illustrations are charming. Splat has a lovely furry body and head but his legs are like matchsticks and his tail is extremely long and wiggly. We see his classmates welcoming him with big grins, some with missing teeth, some wearing glasses, and one hugging a Russell the Sheep toy. There are lots of little amusing details, such as a notice attached to a drainpipe that states 'Strictly no dogs', and many others that do not require any reading. My only criticism would be that not many bright colours have been used; there is rather too much grey, and even the clothes of the cat pupils are mostly dull turquoises, greens and mauves.

The font used for the text is large and clear. It usually appears on a white background other than a few pages where it is superimposed on a light grey area of an illustration. Sometimes a very large font is used for one or two words, for instance when the cats all shout “Mouse!” or “Hurray!” The amount of text on each page is never so much that a young child will get bored and want to turn over too soon.

This is of course an ideal book for a four-year-old who is approaching the time to start school, as the story is intended to make children feel that school is a place to have fun and make friends rather than a place to cause worry. Because of the humour, however, a three-year-old could also get a lot of enjoyment from 'Splat the Cat', and I'm sure a five-year-old would not find it too babyish. A young independent reader with some degree of confidence might enjoy reading the book alone; the illustrations will provide encouragement as well as clues to what is going on.

The story itself may not be wildly exciting, but I would recommend 'Splat the Cat' as an entertaining read-aloud book. The humour and illustrations make it a book that most young children would enjoy listening to and looking at again and again. I borrowed a copy from the library, but Amazon's price of £3.69 could make this well worth buying.

Splat the Cat

By Rob Scotton

Paperback, 32 pages

Harper Collins, 2008

ISBN 9780007284542

Price £5.99 (Amazon £3.69)

Mrs Armitage Queen of the Road - Quentin Blake

I first became acquainted with Quentin Blake through his quirky illustrations for Roald Dahl's novels and books of verse when my children were growing up. Dahl's stories are often hilarious in themselves, but Blake always seemed to capture the essence of Dahl's characters in his drawings and add even more to the humour.

Quentin Blake has more recently illustrated stories he has written himself that are wonderful to read and enjoy. Most of them centre on a particular, sometimes eccentric, character. 'Mrs Armitage Queen of the Road', for example, is a bespectacled, grey-haired lady whom we first meet in striped pyjamas and a brown dressing-gown, sitting opposite her smiley dog at the breakfast table. Who would imagine that she later teams up with a Hell's-Angel-style group of motorcyclists who dress her up in a leather jacket and studded collar? This is the fantastical reality of Quentin Blake's world.

Mrs Armitage's outing begins when her Uncle Cosmo hands his old crock of a car to her as he now has a new motorcycle. She is not impressed with it but nevertheless sits Breakspear, her dog, in the back and sets off. Various mishaps occur that involve parts of the car falling off, but Mrs Armitage is not fazed; she throws them on the scrapheap each time and continues her journey, eventually arriving in the countryside. Things reach the point where the car has lost all its doors, as well as the bonnet and various smaller parts.

By coincidence she then encounters Uncle Cosmo and his friends coming the other way on their motorbikes. They are so impressed by Mrs Armitage's strange-looking 'machine' that they invite her to go with them to the Crazy Duck Cafe for billiards and banana fizz. This, then, is how Mrs Armitage becomes Queen of the Road.

The illustrations obviously count for a great deal in any book by Quentin Blake. We see poor Mrs Armitage with a succession of glum faces as she disposes of various car parts on the scrap heap, but the builders watching her throw the roof away seem pretty amused. She looks so much happier when she meets Uncle Cosmo and his gang, a motley crew of bearded, booted or in one case big-busted bikers. Breakspear looks delighted as he sits behind Mrs Armitage and they speed off down the country road, followed by the rest of the gang, all beaming amongst clouds of exhaust fumes.

There is a lot of fun with onomatopoiea in this book, with Blake inventing words such as beoing and kerrunch when the car comes to grief. There are generally about three or four lines of text per page in a large font on a white background, so reading is made easy. I have heard of this book appealing to children as young as three and as old as nine, by which age of course they should be able to read it themselves.

'Mrs Armitage Queen of the Road' is a wonderful read-aloud book, but may not appeal to children much younger than four-years-old. There are apparently at least two other books in Blake's series about Mrs Armitage, 'Mrs Armitage on Wheels' and 'Mrs Armitage and the Big Wave'. I shall definitely be looking out for these. Quentin Blake's books are a lot of fun to read, not least because his drawings add so much to the humour of the story.

Mrs Armitage Queen of the Road

by Quentin Blake

Paperback, 32 pages

Red Fox, 2004

ISBN 0099434245

Price £5.99 (Amazon £4.49)

Not Now Bernard - David McKee

Masquerading as a children's book, Not Now Bernard might perhaps be seen by many as one for the parents who read it aloud as a bedtime story to their little babes. The front cover acts as an introduction to the story, setting the scene. We see a small boy whom we presume to be Bernard, gazing wide eyed at what is obviously a monster, and a fearsome one at that, baring his teeth from on top of a mound. The monster is about as broad as he is tall and is almost all face, with short limbs attached.

Opening the cover, we see the monster again, but this time he has his index finger on his mouth and looks as though he thinks he has done something wrong. On the title page we see a full-figure picture of Bernard, wide eyed again and with a minute dot for a mouth. Turn the page, and Bernard is saying hello to his Dad, pictured here banging a nail into a wall. Bernard is standing behind him, and Dad doesn't turn round but merely replies 'Not now, Bernard.' At the same time he hits his finger with the hammer and appears to cry out in pain. A similar episode occurs with Bernard's Mum on the next two pages; she is busy in the kitchen and ignores Bernard's hello just like Dad did. Bernard seems to be seeking attention when he persists by telling Mum that there is a monster in the garden that's going to eat him. Mum obviously thinks this is a tall story and continues to give the standard 'Not now, Bernard' as a reply.

Having had no joy with his parents, Bernard decides to go into the garden and say hello to the monster. Perhaps it will take some notice of Bernard. This is what he in fact does, but not in the way Bernard had hoped. He eats Bernard up, and we see the monster left holding just one shoe. The monster then decides to go indoors, and lets out an almighty 'ROAR' behind Bernard's mother as she is painting a wall. Thinking once again that it is just Bernard, she gives the usual reply 'Not now, Bernard.' The monster then finds Dad sitting in an armchair, hidden behind the newspaper, and on biting Dad's foot, the reply is merely repeated, as Dad doesn't actually see what is happening. When Mum puts Bernard's dinner on a table in front of the television, she calls her son but doesn't wait to see if he comes to eat. The monster eats the dinner and continues by amusing himself with a comic and the television. After a while, Mum calls to Bernard, telling him that he should go to bed and that she has taken his milk upstairs. We see the monster on his way up with teddy in tow, and then settled in bed with teddy. At this point he objects, 'But I'm a monster.' Mum is in the doorway, but rather than take a look or say goodnight, she switches off the light and for one final time says, 'Not now, Bernard.'

Do we interpret this as a message concerning the terrible consequences for parents who persistently ignore their children and never spend any time with them? Or do we assume that everything was a figment of Bernard's imagination because of his boredom? Did he convincingly take on the role of a monster, roaring, biting, and breaking one of his toys? Such deep questions. Perhaps the most interesting point is that young children don't seem to find this story frightening; they usually love it and have a great laugh over it. This could be partly because of the illustrations. They fill most of the page, and the monster looks rather comical just after he has supposedly eaten Bernard: his tongue hangs out as he holds up a shoe. He holds up a dinner plate and lets the food trickle into his mouth; when he watches television, he stands on top of the set (before the flat-screen era) and peers down from above. Colours and patterns are bright and cheerful, giving a definite friendly feel.

As well as being a popular bedtime story, this is an excellent reading book for children between the ages of four and a half and seven. It fits the National Literary Scheme's requirements in England and Wales of being a story with a familiar setting, a story with patterned language, and a story by a significant children's author. For these reasons there is also an accompanying teachers' resource book available. The fact that phrases such as 'Not now, Bernard,' are repeated would of course make it easy for very young readers to recognise words that appear every now and again throughout the book. There are never more than fourteen words on a page, and in fact the word count on most pages is only about six.

Not Now, Bernard has delighted children for more than twenty years now; some that heard or read the first edition are now nostalgically reading it to their own children. I would definitely recommend it either for reading aloud or for early independent reading. It is attractive both visually and in terms of a story that captures the imagination of a child who can identify with Bernard's boredom and loneliness.

Not Now Bernard

by David McKee

Red Fox, 1984

Paperback, 26 pages

ISBN 0099240505

Price £4.99

The Magic Finger - Roald Dahl

If I had to pick one single writer whose books a child should read, it would have to be Roald Dahl. I spent many fun-filled hours reading his books aloud to my children when they were very young, and they read them again for themselves as soon as they were able to. The perfect one to begin with, as it is not overly long, is 'The Magic Finger'. The heroine is a girl who can zap people with her finger with drastic results.

We are never actually told what the girl's name is, but that doesn't seem to matter. She discovers early on the special power that she has in one of her index fingers which comes into force when she gets particularly angry. She uses it at school one day, when her teacher, Mrs Winter, asks her to spell 'cat' and she spells it 'k-a-t'. Her teacher may have regretted calling her stupid and asking her to go and stand in the corner, as she grows whiskers and a tail after the girl turns the Magic Finger on her. The girl vows that she will never use her Magic Finger again after this episode, as Mrs Winter is never quite the same after her transformation.

It proves too difficult, however, for her to stand by her decision. Worse than Mrs Winter's is the fate of the Gregg family, who live in the farm adjoining that of the girl's family. There are two boys, Philip who is eight (the same age as the girl), and William who is eleven. The girl often goes to play with them, but she strongly disapproves of the fact that they go hunting with their father. At various times they are caught shooting deer and ducks by the girl. She is so incensed that she puts the Magic Finger on them, and this affects the whole family, even though Mrs Gregg was not out hunting. The ducks that Mr Gregg and his sons were aiming at turn round and fly towards them; they continue to circle around in a menacing way.

The following morning, the Greggs awake and find to their horror that they have dwindled in size and grown wings. William and Philip are delighted that they can fly, but they don't fancy the idea of eating worms of course. The Greggs have to spend the stormy night in a nest that they build themselves, as the ducks, who are now enormous, take over their house. The girl feels guilty when she realizes what has happened, as William and Philip are after all her friends. Only when the ducks threaten to shoot the Greggs do they have the chance to return to their normal human selves by promising never to shoot birds or deer again.

The Greggs are in fact transformed after this horrifying experience; they even change their name to Egg. Mr Egg destroys his guns, and William and Philip are seen feeding birds of all kinds. I will leave you to guess whether or not the girl ever uses her Magic Finger again.

This story is a wonderful blend of fantasy and the idea that people who are cruel might actually get their just desserts and change their ways. The thought of a little girl having power over those in authority or bigger and stronger than herself is a delightful one. Quentin Blake captures the essence of Dahl's characters in his line drawings and caricatures; children are always depicted with beaming smiles, other than when the girl tries to phone William and Philip and feels guilty when she is answered by a quack!

A child who enjoys 'The Magic Finger' will almost certainly delight in another of Dahl's novels, 'Matilda', once again centring on a girl with magic powers. These stories will keep children absorbed for hours on end. The font is quite small, but there are so many illustrations that reading the text will not seem like a chore to a young child who is an independent reader. 'The Magic Finger', not being too long a story, could also be suitable for reading aloud but perhaps not all at one sitting. I would definitely recommend this novel as an introduction to Roald Dahl, or as an extra one to read if you have already discovered his most famous stories through books or films.

The Magic Finger (Young Puffin Developing Reader)

by Roald Dahl and Quentin Blake

Puffin Books, 2001

Paperback, 67 pages

ISBN 0141311290

Price £3.99 (discounted at Amazon)

Harry and the Dinosaurs say 'Raahh!'

Taking a young child to the dentist for the first time could prove to be a frightening experience for them, having to encounter complete strangers and deal with the prospect of pain, but Ian Whybrow comes to the rescue with his story 'Harry and the Dinosaurs say “Raahh!”'

Little Harry with the big fringe takes his bucket of dinosaurs everywhere with him in Whybrow's series of picture books. At the start of 'Harry and the Dinosaurs say “Raahh!”' Harry is busily cleaning his teeth in preparation for his first visit to the dentist. He is a little afraid because elder sister Sam has shown him her filling. His dinosaurs are hiding but they all jump in the bucket when he calls them, except for Tyrannosaurus who has so many teeth he is worried that the dentist might have to drill them. Harry reassures him by telling him that he will press the magic button on the bucket to make Tyrannosaurus grow big, and off they go on the back of mum's bike.

When Harry goes into Mr Drake the dentist's room, he isn't convinced about the promised ride in the chair that goes up and down. Mr Drake lets him put Tyrannosaurus in the chair, and while his back is turned Harry presses the magic button to make Tyrannosaurus bigger. As the dentist turns round again, Tyrannosaurus lets out a tremendous roar that scares Mr Drake into hiding behind the door and asking for Harry's help. Harry quickly presses the button again to reduce Tyrannosaurus to his bucket size.

Harry now feels much more confident about sitting in the dentist's chair, and Mr Drake assures him that there is no need to use the drill; he will just have a look at Harry's teeth and give him a mouthwash to rinse with. Of course the dinosaurs have to rinse as well, and one of them disrespectfully spits the mouthwash right in Mr Drake's face to Harry's great amusement.

On the way home Mum lets Harry choose a book from the library, and the dinosaurs are delighted that he chooses one about sharks because there are plenty of sharp teeth involved.

This story is much more fun than the usual kind of book about going to the dentist. It would probably encourage a child to feel more confident about going if they took a favourite toy along. The episode where Mr Drake is frightened of the Tyrannosaurus shows that adults, even dentists, are vulnerable too and get scared sometimes just like children. Rinsing with the mouthwash is shown to be great fun, and drills are unlikely to be needed for very young children. The double-page spread at the beginning and end of the book showing dinosaurs of all shapes and sizes wielding toothbrushes and squeezing toothpaste is a great way of showing children that brushing teeth is just like a game.

Adrian Reynolds's illustrations for the book are big, bold and colourful. Expert young children can have fun identifying the different types of dinosaur, or just enjoy the unexpected incidents in Mr Drake's room.

The text is in a large, clear font and only in a few instances are there more than three lines to a page, superimposed on the pictures. This is obviously intended to be a picture book to read aloud to very young children, but young readers who are gaining confidence might enjoy having a bash at it too. They might need help reading the names of the dinosaurs, or of course they might just surprise you!

There are a few parents who feel that mention of the dentist's drill in the story is too frightening for the very young, but the fact that Harry does not need it helps to reassure them that they are unlikely to either. Children are probably going to hear and see the drill at the dentist's, and it is better to have discussed it beforehand rather than having to come up with a last-minute explanation.

Harry and the Dinosaurs say 'Raahh!'

by Ian Whybrow and Adrian Reynolds

Board book, 24 pages

Puffin Books, 2005

ISBN 141381299

Price £4.99

Five Minutes' Peace

Jill Murphy's 'Five Minutes' Peace' is a charming picture book for very young children. The story centres around a family of elephants (Mum and three children) and begins as they are having breakfast. This is not a pleasant sight. The baby elephant has a cereal bowl upturned on his head, and there is a mess all over the floor. Mum, who charmingly has curlers in the few wisps of hair on her head, sets a tray and puts the newspaper in her pocket. She tells her offspring that she is going to the bathroom to get five minutes' peace from 'you lot'. The children immediately ask to come along, but she firmly tells them to stay downstairs.

Mum runs herself a bath and pours a cup of tea. She is in heaven, soaking in the suds, but it doesn't last for long. Her son Lester barges in and asks if he can play her a tune on his recorder. Mum is not amused, but of course she gives in and Lester plays 'Twinkle, Twinkle, Little Star' more than just the once. He has established a precedent, and the daughter Laura is upset when Mum initially says she may not read aloud to her. Mum realises she is being unfair, so she allows Laura to read from 'Little Red Riding Hood', and naturally Laura takes advantage of the situation and reads more than just the one page.

Baby is not to be outdone, so he comes up and throws all his toys in the bath. The three children bombard Mum with questions: Laura wants to see the cartoons in the paper, Lester wants Mum's cake, and baby wants to get in the bath with Mum. That seems like a signal for all three to jump in, and poor Mum groans. She decides to get out of the bath, and announces that she is going back down to the kitchen for her five minutes' peace. Do you think she gets it? You'll have to read the book to find out.

This is a picture book for very young children who are highly unlikely to understand that Mum needs a few minutes to herself now and again, and it might just do the trick of helping them to realise this. Although she is thinking of herself, the mother elephant here does encourage her children, allowing one to play a musical instrument and another to read to her. We feel that these are things that they often do together. Mum doesn't shout at her children and lose her temper with them. She leaves them to get on with what they are doing and takes herself off somewhere else. She is a great Mum with children who obviously are very attached to her, and she understands that if she is good to herself every now and then she will be better geared towards giving her children her best when they need it.

The illustrations accompanying the story are delightful, including those of the family parading one behind the other for the frontispiece and again after the story finishes. We can appreciate Mum's feelings when we see the mayhem at (and under) the breakfast table, and identify with her when we see her briefly relaxing in the bath, reading her paper and enjoying a cuppa.

Although first written more than twenty years ago, 'Five Minutes' Peace' is still tremendously popular today. It is one of those stories that can appeal to adults just as much as to children, and as such makes itself a perfect book for reading aloud. Dad does not appear in the story; he may of course be at work, but it may be that this is a single mum struggling to cope with the demands on her time. I would suggest that it is suitable for children aged between three- and six-years-old. It might also be suitable for confident young readers to have a bash at themselves. It's definitely the perfect book for demonstrating that Mums give their children their all, but there comes a time when they need to pamper themselves just a little.

Five Minutes' Peace

by Jill Murphy

Walker Books Ltd, 2006

Paperback, 32 pages

ISBN 1844285391

Price £5.99 (Amazon £4.99)