The Return of Pedro

          On September 2nd, Picadilly Press publish 'We're Having A

'We're Having A Party!' - 30 years of children's books

Party' to celebrate their 30 years of publishing for children.
          In one volume, they've brought together seven short stories - enough for one every day, or bedtime, or bath-time, for a week.
          The book is illustrated by Emma Chichester Clark, and its stories are 'about everything from imaginary friends to following Mum’s orders, an amazing dog to unexpected neighbours...'
           They have been written by a roll-call of excellent, acclaimed writers for children: Anne Fine, Jan Mark, Jacqueline Wilson, Helen Cresswell, Robert Swindells and Hilary McKay.
          It costs £7-99, and would make a very good Christmas present. Or birthday present. Or unbirthday present, come to that.
          What is my interest in this book? Well, that amazing dog... His name is Pedro, and I wrote him.
          I've got even more attachment to him than that, because 'Pedro' is an almost entirely true story - apart from a little narrative tweaking here and there. Pedro belonged to my great-grandmother.
          I was raised on stories of my parents' childhoods - 'Tell us about Christmas when you were little, Mom.' And then we heard about the orange in the stocking's toe, the white enamel bucket filled with nuts, the pink and white sugar mice. Or we heard about how her brothers fought - or how they dressed one brother up as a guy, and towed him round the streets in a buggy, begging for, 'A penny for the guy.'
          My father countered with stories of damming brooks, or seeing spitfires flying overhead, or filling his mother's washing-boiler with tadpoles. (And hilarity ensued? Not with my grandmother, it didn't.)

Dare you to fill this woman's boiler with tadpoles!

          They also told us stories from the previous generation - stories that their parents had told to them, about their childhoods. So we heard about our mother's mother going out to work at ten, or walking 12 miles every day to work in the glassworks.
          My father told us how his father started work, in 1912, aged 12, and how he'd been an ostler with enormous great cart-horses. Another tale told of Great-Grandad's nightly attempts to put the cat out.
          Great Grandad was always a little befuddled by bedtime, and every night my Grandad (who slept on the floor under the kitchen table) would watch as his father caught the cat, unlocked the many locks and bolts on the door, caught the cat again, put the cat outside - after a struggle involving the cat bracing its legs against the door-frame - closed and re-bolted and relocked the door,  and finally started up the stairs to bed. Half-way up, he always met the cat coming down on its way back to the warm kitchen again.
          Swearing, Great-Grandad would start the whole cat-wrangling performance again. What he didn't know - but which my young grandad sniggering with his brother under the table did know - was that the cat simply climbed the crumbling cottage wall and got into the upstairs room through a broken pane which had been blocked with cardboard. It pushed the cardboard aside with its head, jumped inside and scooted down the stairs, back to the fire. To have pointed this out, though, would have spoiled the nightly show.
          I loved these stories. Another great favourite was the tale of my paternal Great-Grandmother (wife of the befuddled cat-dupe) and her corgi, Pedro. This was the woman and the dog who convinced several Polish emigrees that all the stories they'd heard were true, and the English were quite mad.

Original 1996 cover

          So when, in 1996, Picadilly asked me for a funny story, I wrote down the family story of Pedro. I can't decide whether it was my Great-Grandmother or the dog who was more eccentric, but I thought their story deserved to be passed on.
          I never worried about dates when I sat listening to these stories, but I suppose the years when my Great-Gran doted on Pedro were either just before or just after the Second World War.
          It would spoil the story to give away much of it here - but I will warn you that the ending is unavoidably sad. Dogs don't live for ever. I don't apologise for this, though. I think adults often try too hard to protect children from the harshness of the world. I've said in another blog that as soon as I was able to read a favourite book of animal stories for myself, I gravitated to the more tragic stories - whereas my father had only read me the lighter, more comic ones.
         When I read stories aloud to my younger brother, I noticed that those he asked for most often were the ones that made him sob. I would say, "You don't want to hear that one again, do you? It made you cry." He would insist that he wanted, more than any other, to hear the sad story again. There was obviously something in the story that he needed and wanted to hear.
          So I decided not to hide Pedro's sad end. After all, he had a very good and happy life. It might have been short - but his memory lives on!

We're Having A Party!

Come And Turn The Page

          My cousin, Alan Hess and I recently made an appearance at

Stories for Learning: Art work copyright Andrew Price

the On-Line Edinburgh eBook Festival, now in its final weekend.
          We did a presentation about the bee in our bonnet, Functional Grammar, and how it can help children - and older people - improve their reading and writing skills.
          Click on the links below for an explanation and a demo of what we're working on.
           This is a prototype, so when you click on the link, it may take a few seconds for the programme to assemble itself into a 'book'.
          When it does - and it will take seconds - you'll be able to get a better idea of what we're aiming at, and how it will work. You'll be able to use the tools, and get a better idea of how this might work in a classroom.
          Note: the 'little lego brick icons' mentioned in part one are along the top of the page.
          Clicking on a link opens a new window.
 

Art work: copyright Andrew Price

Click here for Part One

          In Part Two, do have a play with the 'hot potato' games, and the 'rewrite the text tool.' This part ends with links to videos explaining things in a little more detail. 

 Click here for Part Two

          Alan has recently programmed an edit tool which allows anyone to take any text and quickly insert the HTML codes to make these games work. It's brilliant.

Here, for completion, is a link to Dr. David Rose, of Sydney University, speaking on his reading strategy, 'Reading to Learn.'

Scherherazade: Saving lives by telling stories

 All Art work: copyright Andrew Price.
_____________________________________________________

 

How The Collie Dogs Rounded Up A Story

'Some years ago the late Miss Stewart Mackenzie of Brahan, Ross-shire, informed a friend that in the course of journeys by coach in the late autumn from Brahan to the South during her childhood about the year 1840 she used frequently to see collie dogs making their way north unaccompanied. On inquiring of her parents why these dogs were alone, [she] was informed that these were dogs belonging to drovers who had taken cattle to England and that when the droving was finished the drovers returned by boat to Scotland. To save the trouble and expense of their transport, the dogs were turned loose to find their own way north. It was explained that the dogs followed the route taken on the southward journey being fed at Inns or farms where the drove had 'stanced' and that in the following year when the drovers were again on the way south, they paid for the food given to the dogs...'

          I've more than once found inspiration in footnotes. The one above is taken from 'The Drove Roads of Scotland; by A. R. B. Haldane. I read it years ago - at least ten years ago. Those dogs were always trotting about at the edges of my mind.
          Then they met up with the workhouse apprentices I'd read about thirty years ago. For centuries the apprentice system had put a boy to work for a craftsman. In return for his free labour, he recieved food, board and clothing, and a training in a trade.
          With the industrial revolution, this system was corrupted to

provide cheap labour for mills and factories. Pauper children were 'apprenticed' to the mills, where they were set to work for long, long hours in return for the cheapest food and clothing. They learned no skills, except the operation of machinery. At night they were locked up. They were, in everything but name, slaves. Their 'apprentice papers' bound them to the mill-owner until they came of age.
          What, I thought, if a child escaped from this slavery and, in running away, met up with a couple of collie dogs returning home to Scotland? The collies round him up, and as they provide protection and companionship, and he has nowhere else to go, he decides to walk with them wherever they take him. The dogs are heading west, to their home-croft on Mull, but the boy doesn't know that.
          I found out my copy of Haldane's Drove Roads and consulted it. The drove route from the Isle of Mull to London was the one that seized my imagination. There were longer roads - cattle were, in historic fact, brought from the Outer Hebrides and driven down to London, but I decided not to tax modern readers' credulity.
          My partner Davy, being a Scot of Highland descent, took a more than usual interest in this plotting. "It's too long," he said. "You've got to get them all that way. Why not keep it simple and have the dogs on their way back from the market at Falkirk?"
          I don't always take his advice - it's his constant complaint - but on this occasion, I listened. 'Keep it simple, stupid,' is a good rule of thumb.
          But if the boy was walking from somewhere near Falkirk to Mull, the dates wouldn't work too well for him being an escapee from factory enslavement.
          When I said this, Davy told me what he knew about Scotland's 'bond-women' who wore an odd 17th century costume, and were 'bonded' to work on farms right into the early 20th century. Sometimes boys were bonded too, and it was a pretty harsh system. Davy told me of a boy he'd read of who'd been over-worked, under-fed, and made to sleep in a damp shed with thistles growing through his pillow. He'd escaped his bond by enlisting in the army when WWI broke out - and while everyone around him thought barracks life was harsh and the rations short, the bond-boy had never known such luxury in his life.
          So there's my boy, walking west with the dogs, following the drove road out of English speaking Lowland Scotland, into Gaelic-speaking Highland Scotland. I don't know a word of Gaelic. I don't know much about Scots history - nor, unfortunately, do I know a man who does. Davy says, 'They don't teach English history in Scots schools, and when they taught Scots history, I wasn't listening.' Why does my imagination never give me anything easy to do?
          But at least, thanks to Haldane, I know the route he and the dogs would have taken - and last week, Davy and I were up in Scotland, checking it out. And getting bitten by midgies (Davy) and by cleggs (me.)
          We went to the old ferry crossing on Loch Awe, where the drovers took their cattle across.

 

          This is taken from Taychreggan. The building is a modern hotel, but it's situated where the old droving inn stood. The drovers took their cattle across here, and then climbed the hills beyond, heading for Loch Fyne.

          The modern hotels here are pretty swish and exclusive. They take some finding for one thing. It's not casual passing trade they're relying on. The thronged drovers' inns were about as unlike them as it's possible to be. Dr. Johnson gave them terrible reviews on his equivalent of TripAdvisor. They were, according to him, damp, dirty, flea-ridden and with filthy food. But as the drovers lived on oatmeal mixed with water, milk and blood, their taste was robust.

          From Taychreggan, as Davy was feeling strong, we took the road less travelled, via Glen Nant and Glen Lonan, to the town of Oban. So we came in over the hills, as the drovers would have done.

          The journey was beautiful, but only for drivers of strong nerve. The sheep don't help, as they lie in the road, toasting their little trotters on the hot tarmac, and giving not a spit for tourists in cars. The mountains - ('Hills,' Davy says, 'they're hills.') - the mountains rose above us and leaned over, peering down like giants. It gave me a vivid feeling of how my wee boy would feel, lost in that landscape, and how glad he would be of the dogs' company. The Highlands were more populated then, with many crofting communities. Even so, it would have been no walk through a park.

          Here's Oban.

          The green island in the foreground is Kerrara, which safeguards Oban's harbour.Rising up behind it are the mountains of Mull. It's quite hard to imagine Oban as it would have been at the turn of the 18th-19th century. The whisky distillery - one of the oldest - would have been there, and the castle, obviously. 

          Over on Mull, we visited Grass Point, which is where the cattle and drovers left the island. The cattle were taken by boat over to Kerrara, walked the length of this small island, and then swum across the narrow strait to Oban. We tried to pin-point where this was, and decided that it must have been near where the castle stands. 

          Here's the old ferry house at Grasspoint on Mull - today it's another remote place to stay on holiday. If you like holidays where the only night-life is provided by midgies.

            We ended here, on Iona, so Davy could walk in the footsteps of the great Scottish colourist, Cadell.

 

 

I am entirely with Blott. If he comes round to mine, he can have Republican sanctuary with a warm dry cushion and cream.

         

A Peek Into My Work Room

          I've been working on the third book in the Sterkarm series, after The Sterkarm Handshake and A Sterkarm Kiss. In fact, I've been working on it for the past three years, amongst other things.
          Most of that work has been done on my laptop, in the corner of my sofa - partly because that suited me and partly because what I call 'my office' upstairs was in such a mess I could hardly get in the door.
          Housework has never been a priority for me - and then when both my parents were ill a few years ago, a lot of other things fell by the wayside. And since they died, a lot of things haven't seemed worth bothering about. The 'office' became a place to stuff oddments into and close the door.
          But the work on Sterkarm 3 is becoming increasingly serious. I felt the need of somewhere I could go that was away from my usual sofa-corner, a new place that would send my brain the signal, 'Time to work.'
          Like many other writers, I've often found it productive to get out of the house altogether, and go and work in a library, pub or cafe. I spent a lot of time trying to think of somewhere. The library was out, because personally, I find the grim silence in libraries distracting! I prefer somewhere with a bit of talk and coming and going. But the trouble with pubs and cafes is that you have to keep buying food and drink as 'rent'. This is perfectly reasonable - if I was trying to make a living from running a cafe, I wouldn't want the place full of free-loading writers either. But reasonable as it is, I still can't afford it.
          So I decided to clear my office of junk, generally tidy up, and see if it could serve as my change of scene. For the past week it's been working well. And I thought I should commemorate the tidy office, because it probably won't stay that way for very long.

           It may not seem remarkable to you, but those friends and relatives who have been allowed into the place over the past few years will be staggering with shock at this photo. There are places where you can put things down!
          I was too ashamed to publish a 'before' shot, but just imagine the desk and chair piled with archaelogical layers of papers, cds, books... And the floor littered with the pages of books ripped apart to make e-books.
          I had a lot of photos, cards and such that I wanted to display: and decided to tack them to the back wall instead of having them cluttering shelves and falling off in drifts.

           That male nude in the centre is a birthday card sent to me by my Mom and Dad. Obviously, that's the only reason it's up there - for sentimental reasons. Alongside it is the crashing racing-car card sent to me by my brother when I was learning to drive: 'Mirror - signal - manouvre - Oh !&%?!!' It still makes me laugh.
           Here's my own ghost-drum on its shelf, with its antler hammer, so I can summon the spirits - or Blott - when I need them.

 

          Here's a corner of one bookshelf -

 

          But now I have to get back to work, so I will hand you over to Blott...

          Weather Report: Friday 18th. Here, on top of the Black Country Plateau, it has been snowing gently but persistently all day. Kerbs have vanished, steps have become slopes, and my car is one big white mound. Don't think I'll be seeing anyone this weekend. Plenty of time to work!

              

Post-Haste

          I've got to be brief this week, as I'm the middle of various work deadlines, and also, am not feeling too well. Like a lot of other people, I've a bit of a cold, a bit of sore throat, bit of headache... And it's Davy's birthday meal-out this weekend, too, so I'm saving myself for that.
          First, I'd like to share this short film with you. I've copied it from YouTube, where it was posted by the BBC Wildlife Trust, but it was filmed and sent to the BBC by a friend of mine. I'm not saying where it was filmed, for fear that government sharp-shooters get to hear of it, but it was somewhere in the deep, dark depths of the West Midlands concrete wilderness.

So there's hope that even if the government stupidly persist in killing one of our oldest native species, despite very little evidence that doing so will stop the spread of TB in cattle, badgers will simply join foxes in our backgardens. This one already co-exists with a family of foxes and several cats.

          And then there's this lad:- 

 Not the best photo, I admit. He now has a frost nibbled maple leaf in his crown - an English maple, Joan, sorry - and oak leaves sprouting from the corners of his mouth in best Green Man style. A bird of a species unknown to science has built a nest against his right cheek. There will be eggs in it, but at the moment the glue's still drying and I don't want to add extra weight.

          I spend as much time looking at him and thinking as I do adding anything. I'm thinking: apple-blossom above the nest, and an apple against his left cheek, opposite the nest. Too obvious? Maybe. But then, the seasons are pretty obvious. Not much point trying to be original about them.

          As soon as I get my hands on some paint - couldn't find any in my local poundstore, Madwippet - I'll add some colour, just to make it easier to tell what I'm doing.

 

 

Clowns and Green Men

         Did nothing this week, except the usual noodling around with blogs, emails and so on. Well, did write the beginning of a new story that I promised my agent.
          I thought I'd put up the clown mask I've been playing around with. I partly painted it with white acrylic, but as I don't have much paint and no brush (I used my fingers) things haven't gone very far. The lips are coloured with a felt-tipped pen, but I'm not happy with them. Acrylic would be better, but I was so overwhelmed with the choice of paints that I ended up not buying any. The clown is based on portraits of Grimaldi - I wanted to avoid the Ronald MacDonald look - and his hair should be blue. There should be bright red triangles painted on his cheeks too. I don't know if I'll bother to finish him.
          I started playing around with the Green Man too. My 'studio is one corner of my kitchen table, and while I'm waiting for the kettle to boil, I seize bits of paper and card and work on it for ten minutes at a time.  It started like this - 

A cheap plastic mask of tragedy, which I coated with vaseline. After lots of paste and torn paper, it turned into this - 

This detail of the top left hand corner shows the cardboard holly leaves, and a crumpled paper sycamore leaf,

It's all made out of old newspapers, cardboard boxes, unwanted junk mail. At the moment I'm trying to make a small bird's nest by layering paper around a small (greased) measuring cup. As I want to keep the whole thing light, I'll have to find something I can model acorns and hazel-nuts around. I am looking at household objects and bits of rubbish with a speculative eye.

          From Green Men to Blue Cats...

As He Would Draw It

 '...He falls to such perusal of my face

As he would draw it.'

The mask former

          Starting with a quote from 'Hamlet', eh? Sure to knock 'em dead.
          I was very struck by those lines when I first read 'Hamlet' as a teenager.
          I spent a lot of time drawing then, often from life. I knew that, although you might think you were closely observing something, you never really looked at anything until you tried to draw it. The relationships of one part to another, the density of a shadow, the texture, the angles, the precise delination of a curve...
         The curves of the Oseberg or Gokstad ships will break your heart. I know: I've tried to draw them.

The Oseberg Ship

          Was Shakespeare an artist, then, as well as a playwright?
          But what really brings on these thoughts is my Green Man project. I wrote here some months ago that I'd woken up one morning - without ever having any such thought before in my life as far as I can remember - thinking: 'You should make a Green Man mask out of papier-mache.' And then my brother posted that he'd had much the same thought at about the same time.
          Those sort of things tend to stick in your head.
           I've been busy, and haven't actually ripped up one bit of paper for the Green Man, but I have been thinking about him a lot. A lot. And one happy side-effect of this has been an increase in the intensity of my observation. When I go out for a walk now, it's not just a bit of exercise in the fresh air - it's research.
          I'm perusing things as I would make them.
          I'm noticing the different veinings and textures of leaves. Some have plump, pillowy leaves with grooves between the veins. Others are flatter and smoother, but grained. There are pinked edges and smooth edges. Hazel leaves are almost circular, not 'leaf-shaped' at all.
          I'm noticing the different ways they spring from their twig or stem; how they grow in rosettes or spirals.

          I'm studying, with great interest, the dead stalks and seed-heads standing in the hedgerows. I've always enjoyed the brilliant red berries, but now I'm seeing how many different shapes of them there are.
         I imagine botanists and gardeners enjoy this pleasure in just looking all the time. Perhaps people fascinated by other things do too - people who're enthralled, say, by the study of beetles and other small cattle. But it's a pleasure I'd mislaid somewhat since, all those years ago, I used to stare at things, pencil in hand, hard enough to bore a hole in them.
          Whether or not I can reproduce any of these leaves and things remains to be seen - but even if I can't, I'll still have enjoyed this renewed pleasure in just looking. Dying leaves, lemon yellow with splotches and spots of green. Bramble leaves of a deep, glowing maroon red, that you'd think could never be natural, but is.

          In the meantime, I'm approaching the Green Man with due caution, by having a trial run at something else, just to see what I can learn. I'm using a cheap plastic mask (top) as a form. Can you tell what it is yet?

          The big news of the week, as far as I'm concerned, is that my agent says that she's enjoying Sterkarm 3, and will be in touch soon, with notes.

          She also says she found it confusing, in parts. It's not just me, then. I'm hoping she'll figure it out, and explain it to me.

          And Blott's back! So's Ashteroth...