Children's and Young Adult Books

Ryan Lanyon sees something special in Ariel the moment he meets her. He can tell that she is out of place here, in the middle of suburbia, where the too-bright mall lights offer no real security from the dangers outside.

Ryan is an unlikely hero. Surprisingly insightful, he is the first of many characters in Tigerfish that encourage us to look beneath their rough exteriors. Ryan takes Ariel and her sister Kaydie under his wing. To him, they are exotic and fragile creatures who need to be saved. He’s not sure if he will be able to save them, but as far as he can see he is the best one for the job.

At its greatest, literature offers us the opportunity to see the world through the eyes of someone else; at its most inviting, through a character whose experience could be our own; at its most powerful, through a view of existence that differs vastly, even frighteningly, from ours. The latter is explored in these two new works of Young Adult fiction that show us intensely ‘other’ ways of seeing.

In order to appeal to a child audience, picture books often deal with similar subjects or themes. To compete in the marketplace, they therefore need a point of difference – something in the artist’s style, the author’s approach, the design of the book to set them apart.

Where is the pleasure in reading a book as part of a series? A long acquaintance with known and trusted characters rewards the reader with the chance to share their growth and development through multiple challenges and adversities. For teenage readers, following protagonists their own age on this journey has particular rewards. All this, and cliffhangers, too.

Barry Jonsberg’s latest novel, Pandora Jones: Admission, is the first in a series. Jonsberg is a versatile and assured writer. His gift with character is the portrayal of young people who narrate their lives with humour and self-assurance. Dreamrider (2006) was a departure for him, depicting a character who was in psychological torment from dreams, which may or may not have been real.

In Negotiating with the Dead (2002), Margaret Atwood proposes that all writing ‘is motivated, deep down, by a fear of, and fascination with, mortality – by a desire to make the risky trip to the Underworld, and to bring something or someone back from the dead’. Certainly writers often use their craft both to preserve the memory of times, places, and people lost to them, and, consciously or unconsciously, to create a vivid, unique voice that will outlast their own earthly existence. Is this fixation with mortality also a reason for the frequent presence of ghosts in narratives? From Hamlet’s father through to Heathcliff’s Catherine, and on to the otherworldly characters in The One and Only Jack Chant and The Haunting of Lily Frost, many stories pose the question as to whether these eerie spectres are ghosts or imagination, as well as what the living can learn from them – and, as Lily Frost questions, ‘What do ghosts want?’

David Levithan’s latest book has proved extremely popular with adolescent and adult readers alike, particularly gay men who lived through the first wave of HIV/Aids. The main storyline, which takes place over a couple of days, centres on two gay teenagers, former boyfriends Harry and Craig, who set out to break the Guinness Record for a continuous kiss (more than thirty-two hours).