This page contains a Flash digital edition of a book.
Gold Award. Coriander, a girl growing up in seventeenth century London, lives in two worlds. In one, the political and religious upheaval of Cromwell’s protectorate, her father flees persecution and she falls under the cruel sway of Arise Fell, a puritan preacher on the make. In another, intersecting, world of faery, only she can rescue a prince and save the realm from a despotic queen. Told in Coriander’s own words, the story has a fine sense of period and place, a cast of strong characters, and a command of plot and mood that is remarkable in a first novel. Sally followed it with three equally compelling stories set at times of political and social turmoil: The Red Necklace and The Silver Blade set at the time of the French Revolution, and The Double Shadow for older teenagers set just before and during the Second World War.

Apart from being cleverly plotted stories that keep you on the edge of your seat, with some striking turns of phrase, these books show Sally’s fascination with the past and, perhaps indicating a theatre designer’s eye, the way that the smallest detail can convey the mores of the time, the direction of the story and the perception of character. They also show her interest in the aspirations for political and social freedom apparent in both the English and French revolutions and the way in which such aspirations could be cruelly suppressed, distorted and manipulated. It is these questions which are also addressed in Maggot Moon, for here Sally has created an alternative political history for Britain following the Second World War. A totalitarian state called the Motherland has been established. Yet much of the social reality and mood of 1950s and 60s Britain is still recognisable and provides the emotional dynamic of the book: the TV fuelled dream of America: ‘I wanted to live with Lucille Ball in I Love Lucy,’ says Sally, remembering the popular TV comedy – and the authoritarian nature of school life. Sally sees what happens in education as a test of our claims to equality and inclusion. Maggot Moon is a warning: ‘What will happen if we do not care for our democracy. I think democracy is a very delicate bird. It’s precious and we should be vigilant. ‘

The central character of Maggot Moon is Standish Treadwell. Standish is a boy rejected by the system, bullied in the classroom and the playground, sustained by the love of a fellow pupil, Hector, a relationship that is sealed with a kiss. Here, too, Sally wanted to make a statement: ‘I’m shocked when children say to each other as an insult, ‘Oh, you’re so gay!’ At that age, a kid’s sexuality is unformed. I wanted it to be a kiss of love and I wanted it to be done sensitively and to mean a great deal between them. I hope I have done something good on that. Love comes to people at all stages and in many ways.’ The most remarkable aspect of the book is the unique voice of Standish’s first person narration. Sally found it easy to write. She identified with Standish’s anger and Standish’s slightly askew viewpoint, ‘It’s true to the way I think.’ She hadn’t set out to write a dyslexic character, and nowhere is Standish identified as dyslexic (nor would he have been in the 1950s). But once Sally’s editor pointed it out, it was clear that he was.

Sally has a particular way of working. She creates an initial manuscript and has an assistant, Jackie, who corrects her spelling and acts as a sounding board, ‘I read it to her and I also send it to her. She corrects it and she reads it back to me and I follow it on my version and anything I don’t like I change.’ This is a process which Sally calls ‘live editing’. As the story is read back, she is listening for the beat –’it’s very musical for me’.

Sally says she loves the ‘magic moment’ when ‘the word in the head’ hits the key. She types on a metal desk, formerly

at the War Office, which was reputedly bomb-proof, and which gives a satisfying response to her typing: ‘It makes a hell of a noise. ‘As she describes it, her relationship with words has a physical and sensual aspect. She talks of wanting to paint with words, and she talks of them as art objects.’

Sally sees herself as a writer whose preoccupations and style have been influenced by her dyslexia and the way in which it has affected her life. So, while she is understandably impatient with those who might think it is the defining feature of her work, she is happy to be a role model for children who are going through the same things that she did; to act as a spokesperson for them; and to give them reassurance and confidence: ‘You may not succeed at the time you are expected and you want to succeed. School for a lot of us will be a complete nightmare. But that doesn’t mean you can’t succeed or learn afterwards.’ She doesn’t regard dyslexia as a disability: ‘I see it as a different way of being, of thinking, that is no way intellectually inferior. I am seriously dyslexic and I don’t regard myself as disabled. I am a campaigner to get it seen in a positive light. And the first thing that could be done is to change the name itself, because I can’t spell it. And with the change in name should come a change in perception and attitude.’ She is pleased that the Maggot Moon app that has been produced alongside the book includes an opportunity for non-dyslexic readers to experience how it might feel to be dyslexic, with the words swimming about in front of our eyes.

Sally loves what she does now: ‘I am the thing I dreamt of being although I never knew it was possible.’ As a writer, she feels that her last two books for older children have required an emotional commitment of her that her previous writing hadn’t. ‘If you want to be true to your characters, you sometimes have to go into places in your psyche that are deeply uncomfortable.’ She has compared writing books like Operation Bunny to snorkelling, while The Double Shadow and Maggot Moon are deep emotional diving. Three Pickled Herrings, the second book in the Wings and Co series, is just about to be published. And, for my part, it doesn’t matter how deep Sally dives, because she always seems to come up with treasure. n

The Books

Published by Orion Children’s Books in paperback unless otherwise indicated

Operation Bunny, The Fairy Detective Agency’s First Case 9781444003727 £5.99 Three Pickled Herrings 9781444003734 £5.99 Snow White 9781444002430 £4.99 The Princess and the Pea 9781444002454 £4.99 Cinderella 9781444002416 £4.99 Sleeping Beauty 9781444002423 £4.99

The Strongest Girl in the World Magical Children series: 9781858816494 £4.99 I, Coriander 9781842555040 £6.99 The Silver Blade 9781842557150 £6.99 The Red Necklace 9781842556344 £6.99 The Double Shadow 978-1780620121 £9.99 (hbk) Published by Hot Key Books Maggot Moon 9781471400445 £6.99

Clive Barnes has retired from Southampton City where he was Principal Children’s Librarian and is now a freelance researcher and writer.

Books for Keeps No.198 January 2013 15

Page 1  |  Page 2  |  Page 3  |  Page 4  |  Page 5  |  Page 6  |  Page 7  |  Page 8  |  Page 9  |  Page 10  |  Page 11  |  Page 12  |  Page 13  |  Page 14  |  Page 15  |  Page 16  |  Page 17  |  Page 18  |  Page 19  |  Page 20  |  Page 21  |  Page 22  |  Page 23  |  Page 24  |  Page 25  |  Page 26  |  Page 27  |  Page 28  |  Page 29  |  Page 30  |  Page 31  |  Page 32