Whatever Wanda Wanted

Author and Illustrator: Jude Wisdom

Publisher: Gullane Children's Books, 2002

What an exciting library find. Bold, brassy illustrations and a story that defied our expectations, a fantastic picturebook. 

Edie (nearly 4) was drawn to this book on the library shelf based on the bright pink cover (sigh!). Yet another princess book I thought; it looked a bit like The Little Princess: I Want my Potty by Tony Ross, 1986, which is no bad thing, but seen it all before (the bratty princess narrative, doting parents, does something wrong, reforms, but is still a bit bratty at the end, because we wouldn't completely want them to reform...or would we?). Whatever Wanda Wanted looks to fit this model initially, and then a shift in the story happens when spoilt, obnoxious, precocious and rude Wanda demands a kite from an magically appearing shop.

Ignoring the warning of the salesman (who's sporting a 70s style tunic and gottee) Wanda takes the kite and is blown away to a desert island. This was quite an exciting extreme twist from the usual half-mistakes made by other bratty princess types (The Little Princess, Peppa Pig, Little Miss stories etc).

The abstract magical realism style illustrations should have really alerted me to the bizarre turn the book might take from the start, with the mix of crayon, pastel and collage producing this super garish and bold page set.The visuals in this book certainly look and feel very original, again, refreshing. 

And so for the twist: Wanda lands on a desert island wailing and complaining about her lack of possessions, especially the lack of access to television. (we liked the dry humour here). So she has a cry, then stands up declaring 'I WILL SURVIVE.' Wanda's own ingenuity and self-drive mean she finds food, shelter and clothing, and she grows 'to love her new life.' (what a turn around: an anti materialism, pro-feminist message!) After making friends with a convenient- plot- device- whale, she catching a ride on the whale's back to return home. On her arrival home her parents are delighted to see Wanda, but have had to sell all their belongings in order to pay for her search party. Wanda assures her parents that she'll be able to knock them up some new furniture, decreeing 'there's more to life than things!'  And then to raise the strong independent woman rhetoric a little higher still, the closing page of the book sees Wanda giving lectures on survival skills and the 'the Beginning' positively reinforced.

As with Princess Smartypants  and The Worst Princess I personally like this brand of post-feminist children's literature to counterbalance 'The Disney princess' (though having recently seen Moana... 

...I'm pleased that there seems to be a wider shift in the sand toward rolling out this representation of strong, independent women with more consistency, sincerity and scope anyway).  

Whatever Wanda Wanted is a great, empowering pre-schooler read, also enjoyed by my KS1 aged son. Recommended target age then 3-6 years. 

And just as an add on, another library find from last week, The Princess and the Dragon by Audrey Wood is also worth a look, again inverting the conventional gender stereotypes. A disruptive, misbehaving princess swaps place with a passive, effeminate dragon, and with the princess and the dragon maintaining the swap at the end, thumbs up for finding true happiness.    

Miffy's Birthday

Author and Illustrator: Dick Bruna
Publisher: original publication Mercis Publishing bv, 1970, featured edition Simon and Schuster UK, 2015
Original Translation: Patricia Crampton 1995, featured edition Tony Mitton 2014

Today we heard the sad news that Miffy creator Dick Bruna had died, promoting my daughter and I to revisit a book she used to love about a year ago, Miffy's Birthday. She still enjoyed Miffy ( at 3 and a half) but was a little more critical than before, 'why doesn't Miffy smile?' Yet this very point, the emotional void, was why Edie seemed to enjoy Miffy books aged two in the first place. They're very inclusive books at this age because there's no expectations or need to read faces and guess the emotion, and with Miffy, you'd draw a blank anyway, she always looks like this:

Now interestingly, Miffy's Birthday is all about emotion, namely how Miffy is feeling at  various points in the day. This disjuncture between the emotionless but iconic Miffy illustrations and the, at times sugary sounding, emotion-filled text does strangely work, and even make sense to very young children, whose emotions 'catch them up' in unexpected toddler outbursts. A good example of this disjuncture in the book is, 'She choose a pretty dress to wear, the prettiest she had. For it was Miffy's birthday and it showed that she was glad' - cut to Miffy with her characteristic non-expression 'x' mouth. Perhaps on the same principle then, Miffy might prove non threatening, so useful as a character, to introduce to children with a wide range of additional needs. (She wouldn't work for all - the flip side is that to others, her emotional vaguarity might be considered confusing).

Miffy works in a very similar vein to the Meg and Mog Series Jan Pienkowski, and it's no coincidence that they come from the same literary era. Both are simple to their core, slightly psychedelic in their colour scheme, thick bold colour background mattes with black outlines. Miffy has become her own trademark, a global image brand; she is safe, sellable, and translatable. She always looks the same, the rhyme is dependable (simple 4-line rhyme), she goes about doing simple things, like seeing her grandparents, receiving birthday presents, having a birthday tea. For a toddler this predictability is comforting, controlled, calming even. As an adult is gets very tiresome. Miffy books are reliable bedtime material for two year olds, and Dick Bruna deserves his place amongst children's literary legends, but I'm not so sure Miffy captures and keeps an adult audience as well, well at least not his one!