Who conquered who?

Front cover

The conquerors by David McKee has been on my 'to blog about' list for a while.  It's one of his later books, first published in 2004 - I think he's only published one more since (Denver, 2010).  It's typical of McKee's work, a modern day parable created with crayon filled ink-line drawings, and spreads covered with figures all looking the same until you peer closely and see that each is uniquely different. It's brilliant and fits alongside his other picturebooks about war and conflict: Three Monsters, Tusk Tusk, and Six men. 

My copy is paperback and a 2011 edition... as with all good picturebooks the front and back covers are one continuous illustration, the conquerors marching into the book. 

Front and back covers

The black background of the back cover gives the smiling soldiers an almost menacing look as they follow in lines behind a smiling general. All stocky, with pin legs, yet faces as individual as any, with hooked, bulbous or ski sloping noses!

The front end papers ...

Front endpapers

...show the conquering taking place, at least this what we can presume. A red cannon ball zooms across the spread, and smoke and fire covers any view of anything in particular. 

The title page and dedication are strikingly peaceful after all the bombing ...

Copyright and title pages

The large title hangs over an illustration of the General and his family, guarded by two soldiers, smiling out at the reader. They look too kind and nice to be conquerors! 

But our story begins by telling us that indeed they are...

Opening 1

The General ruled over a large country which had a strong army and a cannon. Every now and then he'd attack another country nearby, "'It's for their own good,' he said. 'So they can be like us.'"  Like us?  What are these people like? The women are blond and the men (and boys) wear scull caps.   

Opening 2

In the next opening we see the General ordering his troops to attack, the canon is shooting and the soldiers are marching towards a town, a middle Eastern town, blocks of white buildings with the occasional dome. The town's men are baldheaded, and its no coincidence that they are all wearing similar clothes, quite different from those we have seen worn by the people ruled by the General. The smoke and fire evokes the scene we saw on the front endpapers. 

And so the General has conquered all the countries except for one very small one, and he decides he might as well conquer that one too. The people wave their troops off with white hankies, smiling from the windows in their tall white apartment blocks.  But upon arrival the General is surprised. There was no resistance, they were greeted as if guests. The following pages show the General and his soldiers gradually being won over by this small country and its friendly people. 

Opening 4

In opening 4 we see that their homes, bungalow-like houses with tiles on the roofs, are different to any we've seen so far. They wear different clothes too, the men wear hats, but not scull caps, and the women wear Muslim headscarves and long robes.  You can see the soldiers feeling unsure as the people give them lodging. In the following spreads, we are shown the soldiers eat and drink with the people, share jokes, stories and songs. They play their games and listen to their stories. They watch the people preparing their food and enjoy eating it.  Then, because there was no resistance or trouble, the soldiers have nothing to do but help the people with their chores.   At this the General gets angry and sends the soldiers home replacing them with new ones...

Opening 7

In opening 7 we see the new soldiers arriving, pristine and serious, marching together in unison towards the small country.  The other soldiers are a muddle, they are talking to each other, laughing and jolly - one looks like he is in love, his eyes are closed and he is smiling to himself. Another is arriving late, his hand on his hat as though straightening it after being off duty.  Soon the General realises he doesn't need many soldiers in this small country, so he goes back home, leaving a few soldiers to keep an eye on things. The people watch smiling as the soldiers and their General march away. 

Opening 9

... and what do the soldiers do?  Take off their uniforms and happily join the people in their daily tasks.  We can see everyone greeting them and indeed the soldiers seem very happy about the whole business!

Back at home the General gets on with being a General.  But things were different. 

Opening 11

The little country is present in the food he smelt, the games he sees his people playing and the clothes they are beginning to wear.  And if we look at the illustration we can see images that resemble those we saw in earlier spreads: games, muslim headscarves and long dresses, hats with brims and different tunics and the General is smiling as he smells the delicious food they are cooking in the kitchen. "Ah! The spoils of war." he thinks... 

Opening 12

The final spread shows the General sitting on his son's bed, in mid song.  They both look happy and content and as we read the words we smile to ourselves, for the General can only remember the songs from the little country he conquered, and so these are the songs he sings. 

Not quite finished... 

Back endpapers

Those end papers bring our narrative to a peaceful end.  The sun is shining over a land no longer at war ... a conquered land.

Can the violent ways of conquerors be countered by unorthodox means?  Is it possible to win with non-violence and kindness?  What is the nature of colonisation?  How do we see the customs of others around us? There's so much to talk about after sharing this picturebook, that its simplicity is misleading.  

Another book about being conquered and colonised is Rabbits (Marsden & Tan), which I have blogged on here. Its visual narrative is aggressive in comparison to McKee's The Conquerors, yet we are left with similar questions. 

A picturebook to make our students think, and hopefully talk about their thinking. 

Picturebook peritext: the other bits - repost

Happy New Year! My first, long over due, blog post of 2013. Based on a post first written in July 2010, it is one of a sequence of blog posts I wrote when I first started blogging. It talks about picturebook peritext, still vastly misunderstood in ELT contexts, so I am creating a newer version, adapted, but with the basic information I shared back in 2010. Over the last two years I've written about over 90 picturebooks, and I almost always talk about "those other bits" - it seems odd to be reading (re-writing) this post, knowing now that I would find it difficult to talk or write about a picturebook without mentioning the peritext. In my original post I discussed a recently discovered picturebook Mythological Monsters, by Sara Fanelli.  In this new post I look more closely at this picturebook, which, sadly, is now only available through second-hand books stores.  

Picturebook peritext: the other bits - Mythological Monsters by Sara Fanelli

Children’s publishing uses illustrators, authors, editors and book designers to ensure all the different parts of a book - front and back covers, dust jackets, endpapers, half-title and title pages, copyright and dedication pages - are brought together with the pictures and the words to produce a unified end product, the picture book.  An object in itself, one we should be taking  more seriously in our ELT classes.

The covers of a picturebook help introduce us to the main characters and setting. They set the tone of the story, using colour and shape, and even the way the title is written is important.  The title of this picturebook is being eaten by Argus! 

When sharing a picturebook with our students, we can also point out that someone was responsible for making the picture book: there may be two names or just one.  Small children often show amazement when they understand that a picture is made by one person, someone who is clever enough to illustrate and write a book. I recently read an article by Martin Salisbury, who called the person who writes and illustrates 'an authorstrator'.  Some of these authorstrators design their own texts, creating their own hand-written fonts. Sarah Fanelli is an excellent example, the picturebook Mythological Monsters contains her own freehand font as well as some wonderful examples of collage illustration.  I've chosen this book to talk about 'the other bits' of a picturebook.  

Front cover

Front cover - that illustration of Argus, the monster with 100 eyes (and some of them need glasses!) is a great front cover, it's going to be a scary book!  Can you make out the arrows in white moving from left to right in the background? They are beckoning us to open the book.  

Back cover

Back cover - But if we first turn over to the back cover we will see colourful ink drawn outlines of all the monsters set against a background of fallen buildings. Do we recognise the monsters?  We can also read the reviews "A visual, eye-popping tour of the scariest Greek horrors." (The Times) - reviews can be shared with older students when first encountering a picturebook.  They can also be encouraged to write their own reviews which can be shared in a school magazine or blog or on child-made bookmarks.

Close up of first recto page

My edition is paperback and so it has a neat little page with a space for the book owner to write his name.  Here's a closeup of the illustration ... 

Endpapers - Open the book and you will see the endpapers, in hard-back editions serving the practical purpose of holding the pages to the cover.  In a paperback editions they are sometimes excluded, but not in this paperback!    In Fanelli's front endpapers we find those quirky ink drawings of monsters again, placed as though on a note book, and with spaces

for the reader to write the names of the monsters. Do we know these monsters? Do we write the names before we read or after?  

Endpapers in picturebooks come in various forms, sometimes illustrated, sometimes not. Even if an endpaper is blank, it could be so for a reason, so don't dismiss it. Illustrated endpapers almost always contain narrative clues.  Sara Fanelli's front endpapers are giving us clues to what we will find in the book, and challenging us before we've even started, to see if we know.   

Front endpapers

The back end papers are different.  Fanelli has created a kind of quiz, and her ink drawings appear alongside questions, to test how observant we have been, encouraging us to go back and see what we may have missed, or confirm what we already knew. The back left side endpaper gives us further information about the mythological creatures with a couple more comprehension questions thrown in for good measure.

Back endpapers

Copyright / dedication page - Sara Fanelli has created a monster, though not from ancient Greece,  who wafts the copyright details in his firey breath, and a dog like creature barks out one of the dedications.  There's an Italian dedication upside down at the top of the page. Do the children understand it?   You may want to tell them that Sara Fanelli is Italian and only came to the UK to make picture books when she was older. 

Copyright and dedication page

Detail of dedication

Title page - Then there's the title page with similar creatures breathing firey information, daring us to enter the book, or informing us in unFanelli like font that Walker Books and Subsidiaries London . Boston . Sydney . Auckland are the publishers. 

Title page

And all this before we've even started 'reading' the book. That's how important all those other bits of a picturebook are, and why we should never ignore them in our ELT classes.   

Mythological Monsters is perfect for a children who have had three or four years of English who will enjoy the visual and verbal jokes as well as the topic.  It's also an excellent title to use with teacher trainees, as it demonstrates how all the peritextual features can contribute to a narrative.  

Another of Fanelli's picturebooks which is suitable for use in ELT is My map book.  Maybe you've used other titles, if so send in a comment. And if you are interested in Sara Fanelli's work, she has an interesting website.

Reference: 
Martin Salisbury 2008 The artist and the postmodern picturebook in Sipe, L. & Pantaleo, S. (Eds) Postmodern Picturebooks: play, parody and self-

Look at the endpapers - repost

I did something very silly - I deleted some of the images in my Picasa album - and it played hells bells with my early blog posts.  I am recreating those which were well visited.  This is the first of these recreations. 

Look at the endpapers (Originally posted in July 21, 2010)

Endpapers from The very hungry caterpillar (Carle)

Endpapers are part of the picturebook peritext. I thought I'd take a closer look at the different endpapers we might find in some of the more widely used picturebooks in ELT.

Endpapers from Winnie the witch (Thomas and Paul)

There are endpapers that are left blank, in white or cream. Sometimes endpapers echo a colour that belongs to a book. Winnie the Witch, by Valerie Thomas & Korky Paul has black endpapers (naturally!) with striking slashes of colour... which we can associate with Winnie's magic wand once we've read the story. 

Endpapers can hint at aspects of the story, like the wand slashes by Winnie. The end papers from The very hungry caterpillar by Eric Carle are at the top of this message. Did you recognise them? Ripped paper, full of holes. I wonder if it was the caterpillar? 

Endpapers from Brown bear, brown bear what do you see? (Martin Jr and Carle) 

Brown bear, brown bear, what do you see? by Bill Martin Jr and Eric Carle has strips of coloured tissue paper in the sequence of the animals as they appear in the story. Can you see Carle's signature? We put our signatures on works of art, what is Eric Carle telling us? Interestingly in the hard back edition, the endpapers have no signature, but instead a red bird. 

Endpapers from The Gruffalo (Donaldson and  Scheffler)

The Gruffalo by Julia Donaldson and Axel Scheffler, celebrated its 10th anniversary in 1999. The endpapers show us a quiet green wood, waiting for something to happen!  My anniversary edition has two sets of endpapers.  The second set has the sketches for early versions of the characters by Axel Scheffler,  lovely!

Additional endpapers in the anniversary edition (front illustrations)

Room on the Broom by the same authors, has endpapers showing us the four items belonging to the witch which appear in the beginning of the story and are lost / broken, as the narrative progresses.   

Endpapers from Room on the broom (Donaldson and Scheffler)

They're also in sequential order, with a dark storm brewing, introducing us to aspects of the narrative again.  

Endpapers from Is it because? (Ross)

Is it because? By Tony Ross is a part of a set of materials from the British Council Learn English website. The endpapers are covered in question marks, reinforcing the question the narrator is asking. 

All these examples show us endpapers which are the same at the back and the front. But there are end papers which are not the same. We’re going on a bear hunt by Michael Rosen and Helen Oxenbury has two different endpaper sets. The front ones show us an empty sea shore, possibly early morning, before we set off for our bear hunt. The back endpapers show us a dark sky at the same beach, with the bear walking away from us.  Dejected and unwanted, poor bear.

Front endpapers from We're going on a bear hunt (Rosen and Oxenbury)

Back endpapers from We're going on a bear hunt (Rosen and Oxenbury)

Down by the cool of the pool  by Tony Mitton and Guy Parker-Rees also has two different endpaper sets.  The front depict a cool bluey pink watery scene, the pool.  Possibly reflecting the pink sky as the sun rises in the morning. The back ones are a delicious orangey yellow, the sun is shining right into the pool.

Front endpapers from Down by the cool of the pool  (Mitton and Parker-Rees)

Back endpapers from Down by the cool of the pool  (Mitton and Parker-Rees)

Handa’s surprise by Aileen Browne has a wavey line of delicately drawn fruit from the story on the front endpapers, and the back ones show us the animals who appeared in the story. There's a sequential order to both sets.

Front endpapers from Handa's surprise (Browne)

Back endpapers from Handa's surprise (Browne)

Suddenly! by Colin McNaughton has front endpapers which confirm, 'where there's a pig, there's a wolf!'  For this is what our story is about, a  wolf  following an unsuspecting pig.

Front endpapers from Suddenly! (McNaughton)

But as in all "Tom and Jerry" like comedy, the poor wolf never manages, and the back endpapers are a second ending, with the wolf being taken to hospital!

Back endpapers from Suddenly! (McNaughton)

Many endpapers can surprise us by extending the story and giving us more.  One of my favourite picture books, is Say Hello! by Jack and Michael Foreman.  The blurb on the back of the books says: "When someone's looking lonely and in need of a friend, there's one little word that can help…" The front endpapers are a cool blue, and blue line is used throughout the book, defining places and backgrounds. A little boy watches a group of other childen playing and it is a friendly dog who makes the first move to invite him to play.  A double spread of children watching as the dog jumps up and licks the boy is accompanied by "No need to be the lonely one.  When someone's feeling left out, low, it doesn't take much to say …" Turn the page and the book ends with the children calling out a huge group "Hello!" 

Back endpapers from Say Hello! (Foreman & Foreman)

The back endpapers show us how we can say 'Hello' in lots of languages, black pencil line font, on the same cool blue background.  Truly spectacular.

Endpapers are amazing things, don't ever forget to pay them the attention they deserve. Go back to them after you've read the picture book and talk about them with the children. If they are there, they're definitely worth looking at.   

Six Men: a story about war

Front cover

David McKee created the picturebook Six Men very early in his career. First published in the UK in 1972, it's now only available new in the US edition I think.  I blogged about another of his picturebooks, Tusk Tusk a while back, also about conflict and war, but published a little later (1978).  These two picturebooks are similar in theme, but quite different visually.  Unlike Tusk, tusk, which is brightly coloured, Six men is black and white, the only colour appearing on the covers, the deep brown, which, as in all good picturebooks, unites both back and front covers, creating the heavy ground and a heavier sun.

Back and front covers

On the publisher's website it has been described by Ken and Sylvia Marantz, who write:  "Once upon a time six men search for and finally find a land where they can settle down and grow rich. But they fear thieves, so they hire six strong guards. When no robbers arrive, the men worry that paying the guards is a waste of money. So they put them to work capturing a neighboring farm. Enjoying the power, they add soldiers and capture more land. Some, who escape their expansion, work and live happily together across the river, but still worry about the six belligerent men. So in case of attack, they take turns being both farmers and soldiers. Unfortunately one day the bored soldiers on both sides of the river shoot at a passing duck. The anxious armies, fearing they are attacked, gather and a mighty battle begins. In the end, only six men on either side are left. And so they set off in opposite directions, beginning again the search for a place to live and work in peace. ..."

The story is one we all know, the causes of war.  The picturebook is a modern-day parable and very suitable for older students, I'd say teens in particular, but if the topic is suitable and the children's level of English is good it could be shared with children down to about 9 or 10 years old. 

Peritextually, other than the covers, it's not very exciting.  Lots of white pages and space, with the two word title sitting alone in the middle of the page.  

Opening 1

On the spreads, the white space is used cleverly balancing McKee's illustrations, which are made up entirely of fine line drawings in black ink.  If you look at opening 1 the recto page is full of neat lines juxtaposing each other, creating a sort of mountain of jagged rock for the six men to climb over. The verso contains those oft heard words "Once upon a time ..." and and single circle, representing the sun, hanging empty, yet together with the white space, balanced against the rocky crags of the facing page. 

I don't now if McKee was influenced by Paul Klee, but as I look more closely at his lines they remind me of some of Klee's work, though lack the colour which would have been present in the Swiss painter's masterpieces. 

The balance that McKee manages to obtain on each spread is visually very satisfying. McKee also uses pattern and symmetry very successfully.  

Opening 4

Look here at opening 4, where he has illustrated six soldiers.  They all look alike at a glance, their helmets resembling bullet heads, yet as we peer closely we can see they each have a different expression. Opening 5 is similar in its patterning ...

Opening 5

The soldiers are shown with their helmets placed neatly together, creating a whole symmetrical helmet Edam cheese shape. The change in perspective, from eye level to birds eye view is odd. The six men are laid along the verso edge, eyeballs upwards - it makes you want to turn the book round and follow their gaze upwards towards the lazy soldiers, thus returning to the more comforting eye level.  Pattern appears in a number of spreads:

Opening 8

Here in opening 8, the soldiers helmets fit neatly into the body of each soldier next to them, the drawing is almost geometrical, it's a delight. 

Opening 9

The six men's greed culminates in opening 9, where we are told that they "ruled over the land from high watch tower down to the great river." A long shot view of the land shows us the soldiers at work. You can just make out the platoon chasing two figures towards the river, which is only visible as water because boats sit upon it.  From here onwards the drawings begin to take on a symmetry that reflects two sets of men at war with each other, for those chased men cross the river and begin living with farmers, who as yet have not been conquered. Together they create an army to fight that of the six men across the river.

They took turns in working as farmers and training as soldiers and "in this way they became prepared to face an enemy:" And so it began. A soldier on each side of the river bank ... symmetry representing the two sides of the story, the conquering and those not wanting to be conquered. 

Opening 11

All  because of a duck ... the alarm was called and each soldier rushed back to his army. 

Opening 13

Each army separated from the other by a carefully drawn, thin black line. Fear spread and the war began...They fight ... 

Opening 14

... and they die. 

Opening 15

These soldiers are pilled upon each other, bullet shaped helmets nose to nose with the squared ones... it's a muddle but a neat one, with soldiers fitting into each other as they die in unison. Once the battle was over everyone was dead, every one, but for six men on either side...

Opening 17

And so the story begins again, as the six men search "for a place where they might live in peace."  If used as a prompt, the simple black lines in this picturebook, stark, sharp and pointy and very clear in their message, open doors to discussion and interpretation.