By James Howe
Harold and Chester may possibly infrequently think it. The Monroe relatives was once occurring holiday with no them. Bunnicula, the kinfolk rabbit, will be boarded with a neighbor. yet they, the family's unswerving puppy and cat, have been to be despatched away with strangers; they have been to spend per week at Chateau Bow-Wow.
Chateau Bow-Wow, saw Chester, quickly when they arrived, may perhaps extra competently be referred to as Howliday lodge. notwithstanding what used to be howling, neither of them knew. Chester had his suspicions even though; just a werewolf can make that chilling sound.
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Extra info for Howliday Inn (Bunnicula, Book 2)
Example text
In many ways Rose embodies the Surrealist concept of the child as ‘the ideal alter ego of artists and poets, the medium of transgression, fantasy, sexuality, inspiration and the chief banner-carrier in the mortal struggle against the bourgeoisie’ (Warner, 2005: 13), a symbol with which Stein would have been thoroughly familiar. It is not surprising, therefore, that in her energetic engagement with what she saw as the necessary revivification of the arts, Gertrude Stein recognised the importance of addressing the future generation as well as those currently responsible for culture.
At one level the gaps provide places to hide and in which to look, at another, they explore the spatial relationships on the page and between pages, adding to the feelings of anxiety about what has happened to Little My. As Elina Drucker (2004) observes: The complexity of the form and the changing mode of spatial and temporal relations express a strong feeling of disorder, a disorder that is gradually revealed as we enter this distinctive narrative space. The shifting visual experiences of the landscape, and of space as such, can be compared to the fantasy worlds created by Lewis Carroll … or to Dante’s The Divine Comedy, where the changes of the nightmarish environment express the underlying themes of searching and identity.
Through the figure of Mary Poppins, Travers makes the ‘normal’, with its dependence on rationality and scientific explanations (Mary Poppins defies both), seem both strange and inadequate. A more recent YA novel that puts magic(al) realist devices to startling effect is Melvin Burgess’s Lady: My Life as a Bitch (2001). The power of this text (discussed in more detail in Chapter 6) comes largely from its ending. Having turned its central character, sexually rambunctious teenager Sandra Francy, into a dog, the story seems to be heading for the predictable moment 22 Radical Children’s Literature when she is restored to her human form.
