Woolvs in the Sitee by Margaret Wild and Anne Spudvilas

Transcription

1 Notes written by Pam MacIntyre Woolvs in the Sitee by Margaret Wild and Anne Spudvilas This is a powerful and sophisticated book in language, visuals, design and ideas. Like all rich texts, it leaves room for the reader to negotiate meanings. It is not intended for beginning readers, but for those for who are ready to play with language, who are ready to learn about figurative language and images such as metaphor, motif and symbolism. It offers opportunities for challenging and rewarding exploration in an English classroom and in terms of visual literacy. The language is integral to the integrity of the text and to the character of Ben, whose youth and vulnerability is built from the language he uses. Just as the fabric of society is being torn down so is the language. This builds within the reader the sense of alienation. From the beginning we know that all is not right the type of language used clues us in: the spelling makes the familiar strange, unsettling. Also, this fracturing of the language is not gratuitous and random, but carefully constructed so that it is easily decoded by the reader. It uses unconventional, but phonetic spellings and phonemic patters, such as er in kertins or wer. Ideally, this book would be read to a small group straight through initially to allow the experience to 'wash over' the reader. Then, subsequent close and leisurely readings would follow, with lots of talk about the decisions made in terms of design and illustration as well as content and language. This book is a visual and aesthetic experience as much as a textual one, and images draw in the reader and demand a response. From the first opening of the endpapers, with the sketch wolf image splayed across the black background, we are alert to a reading experience that is likely to be strong and meaty. The spaces between the lines in the rough wolf image, signal that it is likely to invite us to be active in filling in the gaps. Turn the page and our expectations are further confirmed with the intense red spread and graffiti-like text. 1

2 General Discussion This is a book in which it is important to allow young readers to respond with their own interpretations. Therefore, Aidan Chambers's 'Tell Me' questions are powerful here in offering readers fruitful ways of thinking, talking and sharing individual, and then group constructed responses. The following have been selected from the general and special questions as a sample. Others could be used as well as, or instead of: When you first saw the book, even before you read it, what kind of book did you think it was going to be? Was there anything you liked about this book? Was there anything you disliked? Was there anything that puzzled you? How long did it take the story to happen? Where did the story happen? When did the story happen? When you think about the book now, after all we ve said, what is the most important thing about it for you? What will you tell your friends about this book? Aidan Chambers Tell Me: Children, Reading and Talk. Stroud: The Thimble Press, 1993, pp Design There is much to look at closely, talk about and revisit: Colour is an obvious place to start: for example, why certain colours have been chosen, and why they have been put in certain sequences, such as the green coloured page. Talk about how colour cues us to respond in particular ways, and the culturally learned associations we make with particular colours. Examine the first opening and look closely at the how the city is represented - broken, jangled wires, damaged aerials, one solitary light that is red, diagonal lines crossing the double page spread. Anstey and Bull, in Reading the Visual (Harcourt, 2000), tell us that diagonal lines create tension. These illustrations not only convey information but set a mood. Work through each spread examining the detail: for instance, in the next opening, the written text on the wall, and who wrote it; the photographs 2

3 and who they might be of; how we read the look on Ben's face and the way he is lit. On the next spread, consider the angle at which we (and Ben) are looking at the world. What is the effect of looking from almost an underground perspective, up at the world? What does it suggest in terms of powerlessness? What is the effect of looking with Ben rather than at him? How does it shift our relation to him and text? Those diagonal lines are strong on this page too. There is much else to notice on this page - the 'eyeless' windows on the building, the hand pulling back the curtain, what the curtain is covering etc. The next spread is a contrast in colour and content. How do we read the almost blank right hand page? Now we are behind Ben, looking at a solitary figure. What does the staircase and open doorway suggest to us? Consider how the colour yellow cues us to read the next spread. Notice again the placement of figures, their location in relation to each other, and their expressions. This close looking can proceed for each page and/or spread. Associations The only suggestion of an actual wolf is in the shadow on the blue page. Could it be the shadow of Ben? Of Mrs Radinski? Or someone/else entirely. The image of 'shrouded' Ben with the candle suggests a religious image, perhaps a religious painting. Students might like to research such images and their significance and how this affects the meanings in the book. Look at the images of the hands on the green page. How do we read that image? Do we make any associations, for example with Australian Indigenous art? You might like to examine 'hands' throughout the text - they are given a certain prominence, in various poses. Use of shadows Ben lives in a shadowy world; things are hidden in shadows. Talk about the mood and tone suggested by the shadows - such as the lack of focus, sense of mystery, partial understandings etc. 3

4 Texture The text is layered with meaning and the illustrations with their wateriness and textures are suggestive and ambiguous. There are shadowy corners and dark recesses. Positioning Consider how the figures are placed within each illustration (some have been drawn attention to above) and where we the viewers are looking from, such as being in the frame, outside it looking in, behind the characters and action etc, and what effect this has on how we read the events and their significance. Ideas It is the role of literature to invite questioning on the part of the reader rather than answer them, and this book is a potent example of literature's function of provoking, puzzling, and challenging. There is a lot to talk about and Chambers' questions will allow young readers to think about and express their individual and collective responses. So, the following are suggestions only and are in no way meant to be prescriptive or definitive. This is a book that will, and should, have many different interpretations. Students should be invited to support their ideas however, through a return to the text. This text is full of the images, language and perspectives of alienation, fear, rescue and finally, graphically of resistance. Does this resistance, in the form of the last image take you by surprise? The book can be read up until that final image, and before the page is turned, invite the students to predict what will be on the final page. Reveal the final image and leave a little time for it to be digested. Then discuss the interpretation of the expression on Ben's face and its emotional impact. What is the effect of his looking up at us? There are no wolves present in the illustrations (except for the suggestion in the shadow on the blue page). Who or what do you think the wolves are? Why are there no images of them in the book? Talk about the reasons for Ben being alone. Discuss what the students think has happened in Ben's world. Natural disaster? Nuclear disaster? War? Occupation? What hints are given in the text? 4

5 There are various references in the text to the countryside - rivers, valleys, blue skies - which suggest the pastoral ideal, and its loss. Perhaps research the pastoral tradition in literature, and why it might be a point of reference in this text. Contrast this with the second-last image of a denuded landscape just beyond the huddle of factory-like buildings and broken power lines dystopic images. Dystopias could also be researched. The rivers and the valleys are also contrasted with Ben s basement existence. This below ground location invites associations with protest and resistance, such as the Underground during World War II and the term underground movements. Consider what Mrs Radinski says to Ben. Are the wolves all in his imagination? What do you make of her reassurances, and then her disappearance? Why do you think the author chose to call Ben s neighbour Mrs Radinski? Would you read the story any differently if she had been Mrs Thompson or Ms Wilson? Ask students whether, as they read, they are making any connections with contemporary situations (world-to-text), or associations with other books/films/games etc. (text-to-text). Symbolism Wolves have often been used symbolically. Locate some texts that use them in this way (some are suggested below). Why has this animal, in particular, been used as a symbol of fear, threat, danger? Consider the animal s symbolism in folk tales such as Little Red Riding Hood, and the Three Little Pigs. Is there an element of stupidity to the wolf, as well as threat? What might that mean in terms of this story? 5

6 Language In the era of multiliteracies, this text offers teachers rich opportunities to explore the nature of language, to encourage students to see that language is fluid and changing, according to audience and purpose. Connections can be made with other forms of mutable, fractured language such as SMS and messages. The form of language in this text has specific purposes and effects, and students can be invited to explore this. Poetic style Consider that the text is laid out in a poetic style. It reads very much as free verse. Discuss why this style might have been chosen to tell this particular story. What is the effect of this poetic style on readers and how we interpret the story? Present Tense, First Person This story is told in the first person and in the present tense. Discuss why these choices might have been made and how it affects how we read the narrative. Perhaps shift some of the language into the past tense and see the effect on the story and the reader. Additionally, or alternatively, shift the text into the third person with an omniscient narrator. To highlight the power of Ben s perspective have students write the story from Mrs Radinski s point of view. Fractured language What is the effect of the fractured language on the reader? How do you interpret the purpose of writing the language this way? Translate a page or two into conventional English and see what the effect is on Ben s character, the story, and how you react to it. Ben often uses plural verbs in his speech, such as I opens the dor I creeps up the stares. Why does he speak like this? Does this speech remind you of anyone, anything? Patterns of language How is it that we can read the words even though the spelling is unconventional? What does this tell us about language and its conventions? 6

7 Note the use of invented words such as scrooched, skeeting, shiffles. Discuss their meanings and why they might have been used rather than actual words that describe the same thing. Other authors such as Sonya Hartnett and Margo Lanagan invent words too. Compare their purposes and effects with Margaret Wild s. Perhaps the most famous example is Edward Lear, whose runcible spoon from The Owl and the Pussy Cat found its way into dictionaries. Have students invent evocative words to express a feeling, action or concept. Active Responses Drama This book begs to be responded to actively and physically. Major events in the book, such as Ben going outside to see the blue sky and being grabbed by Mrs Radinski, or his search for Mrs Radinski could be acted, presented as tableaux or freeze frame episodes, allowing for students to interpret event, feelings, reactions. Hotseating would also be valuable here to allow students to get into the mind of Ben, or Mrs Radinski, and for the others to ask provocative questions. Extending on the text Invite students to imagine what happened to Ben before the story opened, and what happens to him afterwards, drawing on knowledge from within the text, and their interpretations of what they think the situation is. This could be written in the language of the text, storyboarded, computer animated, illustrated in the style and medium of the text, or it could be mimed or acted, with other class members asked to interpret what is being communicated. Artistic Response Draw, make a model, computer animate what you think the wolves are or symbolise. 7

8 Related texts This book belongs to a time-honoured tradition of texts that play with language, and looking at these texts would be a valuable follow-on activity. Also, this text resonates with other enigmatic, metaphoric texts. Playful language Lewis Carroll The Jabberwocky Paul Coltman Tog the Ribber Russell Hoban Riddley Walker Jon Scieszka and Lane Smith Baloney (Henry P.) Metaphoric Picture Books Margaret Barbalet and Jane Tanner The Wolf Gary Crew and Steven Woolman The Watertower and Beneath the Surface Gary Crew and Peter Gouldthorpe First Light Libby Gleeson and Armin Greder The Great Bear John Marsden and Shaun Tan The Rabbits David Miller Refugees Shaun Tan The Lost Thing and The Red Tree Alienation Libby Hathorn and Greg Rogers Way Home 8