Metadata
Imprint Andersen Press Publication 03.10.24 Format PB (£7.99) ISBN 9781839132414 Rights Sold in two territories to date Editor Chloe Sakur Agent Clare Wallace, The Darley Anderson Children’s Book Agency
“For children to have a relationship with an animal who judges not, who just sees you, is a magical, therapeutic thing,” says Rose. The book follows her personal journey of navigating a new life and dealing with prejudice and racism, along with her dogged quest to save Mr Duke. Rose grew up in the 1970s, but many of Birdie’s 1950s experiences resonate with her own. Adopted by “an amazing” white family, Rose’s Jamaican, Nigerian and Anglo-Irish heritage made her stand out in the village. “It was really difficult because no mater how I tried to fit in, I didn’t,” she recalls: there were birthday parties where she wasn’t allowed in the house; a bus driver who refused to let
Birdie is the child that I wasn’t ever brave enough to be. She was always there, such a loud voice in my head
As she observed the children’s book world becoming more diverse, Rose worked with her agent Clare Wallace to find the right story, making her début with The Haunting of Tyrese Walker : a teen psychological thriller exploring themes of trauma and loss. The book was shortlisted for both the Branford Boase and the Diverse Book Awards and she initially planned to keep writing for this age group—but Birdie’s voice proved too strong. “I stared at the screen and felt like I was watching a movie. It was just this voice. It all came out.” Rose researched the 1950s historical context,
her on his bus. “It felt normal because it happened so oſten. There was a narrative about me—who I should and shouldn’t be.” Rose recalls it feeling difficult to “own” herself. “There was so much in my world that I didn’t understand. Writing allowed me to create my own safe space.” Words were a solace and she began writing the stories she could not find anywhere else. “I created a world where I could fit in, where nobody could judge me or tell me that I couldn’t be the princess. It was wonderful, so empowering.” Following the bus incident, an old farmer suggested she try four legs instead and introduced her to the horse who would spark a lifelong love affair. “I look back now and he was a scruffy old cob,” Rose laughs, “but to me he was a king among stallions.” Animals and words were the two forces which got her through this difficult time.“I felt I’d found magic.” Her journey into children’s books took a long time. Rose initially trained as an actor but longed to move into writing. An early pitch for a novel with quirky, Northern characters was rejected by agents and she was instead directed towards the gangland crime genre. HarperCollins’ Avon imprint snapped her up and commercial success followed, but she admits to feeling stuck. “It taught me so much, so in that sense I’m really grateful, and it allowed me to be a full-time author. But, for me, children’s books are footprints in my heart.”
Book Extract
TheBookseller.com
Whoever, whatever it was, was stand- ing there. Her words came rushing out as she tried to squeeze her eyes shut even tighter. “Please don’t hurt me. I’m sorry, I’m really sorry. I know I shouldn’t have come down the tunnels, but I thought the lift might collapse, and there might be another way out. I lost my way, but I was only down here in the first place because I was hiding in the tub when I was running
particularly the concept of the “brown babies” homes and the fate of pit ponies, but found that in terms of racial integration, the 1950s weren’t so different to what she had personally encountered in the 1970s. She drew on her own experiences in creating the characters that Birdie encounters. “Birdie is the child that I wasn’t ever brave enough to be,” Rose explains. “She was always there, such a loud voice in my head. She also felt so personal, and so real that I didn’t know if she would translate on the page.” The indefat- igable Birdie is an unforgetable character, navigating her strange new world and the hostilit of the villagers with courage, curiosit and an open heart. Her experi- ences reflect that of the post-war changes happening in 1950s Britain. “You’re zooming in, slowly, until we meet Birdie Bagshaw with all her hope.” An initial draſt was a litle dark—a remnant of her crime-writing background, perhaps—and Rose was encouraged to strip it back and focus on the book’s relationships. “I realised how much of a healing power Birdie was. It was important for me not to be idealistic, but on that individual level she was able to encourage people to look and reflect on themselves.” Themes of toler- ance, renewal and optimism are woven into the story, which was very much Rose’s vision. “I see children’s books as a road map of empathy and understanding, of reflection of kindness.”
With the success of authors like Hannah Gold and Phil Earle it feels as though the children’s book market is experiencing a renaissance in animal stories. Why does Rose think modern children are connecting to books about the natural world? “I think sometimes it’s the simplicit and beaut of nature,” she muses. “And there’s a pause. The world is so fast moving. But whether you go out and stand by a tree, or a river, it stops. And that’s what people need. A beat.”
away from—” But before Birdie could continue, she felt a warmth on her face and heard a strange snort. Slowly she opened one eye. She
peered in the flickering light and gasped. Then she rubbed her eyes as quickly as she could with her sleeve, in case she was seeing imaginary things. She blinked and blinked again, but this time there was no mistaking it. There, right in front of her, was a pony.
A pony, just standing there! “What are you doing here?” Birdie whispered. “Did you get lost and all?” The pony snorted again, and she
stared at him, mesmerised. Birdie had never seen a pony close up before. She couldn’t imagine why he’d be here in these dark tunnels all on his own. Maybe he fell? Somehow he fell down into the bottom of the earth and found himself here, lost.
19
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 |
Page 33 |
Page 34 |
Page 35 |
Page 36
