By Michael Delaney
A story of a gerbil's nice event, ideal for lovers of the Humphrey series!
existence is sweet for Obi the gerbil. that's, till her proprietor is going on holiday and leaves the pets domestic on my own! A neighbor boy involves feed the opposite animals yet by no means notices negative Obi. So the ingenious gerbil takes at the braveness of her namesake (the well-known Jedi knight Obi-Wan Kenobi) and breaks out of her cage looking for meals and water. as soon as she's at the unfastened, Obi faces harmful cats, a maniacal tarantula, an insecure snake, a grumpy mouse, and a slobbering previous puppy. yet she simply may well make a few neighbors, too, during this hilarious and enjoyable novel a couple of little rodent on an immense event.
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Extra info for Obi, Gerbil on the Loose
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.