Journal 34

[Anita Bensoussane]

I remember reading your theory in a Journal article some time ago, Tony - it's certainly worth considering but Come to the Circus! has always stood out to me because of its focus on the emotions of the adults, particularly Aunt Lou, and because the whole tone of the book is more quiet and sombre than one would expect from a children's circus story. I'm willing to keep an open mind, though!

Interesting thoughts on the poverty thing, Manzy. I'm not sure how "involved" Enid Blyton got with the children's home etc. but I picture her as a visitor rather than an actual helper. I doubt she would have had much time to devote to helping out in a practical way, with her busy writing schedule.

It's funny that the Find-Outers card is labelled "Inspector Jennings," Lucky Star, as the character of Inspector Jenks was modelled on a real police inspector named Stephen Jennings! (Barbara Stoney refers to him as Jennings anyway, though Imogen Smallwood calls him Jenkins in an article in the Journal.)

Anita

[Tony Summerfield]

I think when I originally put forward my Circus theory, I was suggesting the News Chronicle book for the reasons given as opposed to the popular view that it had been recycled into Mr. Galliano's Circus. I agree that there is far more depth to Come to the Circus! and I would certainly suggest that Enid was aiming at her older readers with it. What I think is against it as a recycled 'Caravan' is the length of time between the two books, I don't think that Enid would have left the idea alone for so long and that it was far more likely that she recycled within a year or so of the original rejections.

[Rob Houghton]

Being a great admirer of both Tony and Anita's views I think I'll hedge my bets and suggest that Enid's adult novel could have been transcribed into both 'The Circus Book' and 'Come to the circus'!! I certainly agree that Come to the Circus has some very adult themes, but also agree with Tony about the time scale between rewriting.

Anyway - another brilliant Journal, as everyone has already mentioned. As always I loved Anita's article: it has even encouraged me to re-read 'The Children at Green Meadows', not, I must confess, one of my favourite Enid Blyton's for some reason. I found it interesting that Anita had connected what Enid is quoted as saying to Peter McKeller as being about Green Meadows, which of course it is when you compare what she says with the plot. I hadnt tied it up before.

I am encouraged to re-read 'Come to the Circus' also, due to John Lester's very interesting article, which certainly manages to convince me that it is one of Enid's more 'adult' novels.

It also struck me that many of us (me included) seem to have an obsession with trying to justify some of Enid's work as being 'adult' as if that makes it more worthy! We sometimes talk about adult themes being used, or more adult plots. Indeed, I like 'Rubadub' and 'Mistletoe Farm' for its slightly more 'adult' content - but when I thought about it, why should we be judging Enid in these terms? She is, after all, a children's writer, and should be judged as such. (But I still enjoy reading some of her more 'adult' stories, even so!)

While I'm mentioning adult stories - how about another of Enid's short stories for adults appearing in a Journal, soon, Tony? When you have a little extra room left, that is!

A bumper Journal once again, and one I haven't actually read all of it yet - but well done to all who contributed, and especially to Tony, who works so hard to get it all together. Much appreciated.

[Rob Houghton]

I agree with Anita about the Journal cover picture, too - a strange looking gate, as she says, and the circus tent does look as if it's been swallowed up by the bars on the gate. It's interesting to compare it withJoyce Johnson's later illustration, depicting the same scene, in the book version of the story. It is a similar 'shot', but the gate has been improved, and the Big Top looks better sited. the suitcase has vanished completely, though! Fenella also looks older, somehow in the book than in the cover illustration on the Journal.

[Moonraker]

and "pretty" IYKWIM

[Rob Houghton]

Phew!

Glad I'm not the only one that wondered what IYKWIM meant!

[Tony Summerfield]

Thanks for all the kind comments, but it is really your Journal - I am just the builder and the builder depends entirely on the materials he is given!

IYKWIM - If you know what I mean - at a guess!

[Moonraker]

IYKWIM - If you know what I mean - at a guess!

Ah yes, of course. You are so R&R, Tony!

[Rob Houghton]

Thanks for telling us what it meant! Now I feel so un cool!

[manzanita]

Sorry folks about IYKWIM - it does stands for If You Know What I Mean! Top of the form everyone who got it I'll try to lay off abbreviations in future! I thought this one was fairly common so broke my own rule of not using text-speak!

To go back to the Enid and charity work involvment thing, I also understood that she went to the Home (Shaftesbury I think?) in a visitor context which is why I wonder how much of the experience was sanitised. I know from working in residential homes that when an inspection is due everyone bucks their ideas up and the place is made doubly presentable, which is what gave me the idea.

However, in her defence, Enid was a very busy lady with her writing so it would be unreasonable to ask her to actively participate in terms of hands-on in her charity work and "The Four Cousins" is a children's text after all, so it's unfair to expect an adult perception and solution on the matter. I don't know what Social Service or State Support would be available at the time for Billy and Betty's family, so maybe Enid's option is better than I think it is from my 2007 standpoint.

Maybe sending a food parcel or hand me downs was an insult, although in "The Put-Em-Rights" baby clothes are found for baby Hilda and it's not taken as an insult. Perhaps Enid had a change of heart between the two texts? I don't remember Hilda's family being particularly poor, just unmotivated and the home neglected. Which brings us back to the difference between poverty and neglect and adds in lack of motivation.

Manzy

[Aunt Fanny]

Sorry if it turned you into Mr Stamp About for a while Tony--but what a splendid result !
The journal fell open at the Mr Moonface letter-he certainly was ahead of his time with his Google Buns--(Cookies? ). Will enjoy reading Anita's piece now. Thank you for all the hard graft Liz.

[Tony Summerfield]

Just a few of my own thoughts on Journal 34. I have to start with my local Post Office who kindly put on all the labels and saved me a great deal of lick and stick and also saved the Society a bit of money as I would have stuck the wrong stamps on the overseas ones, as I had forgotten that this was a few pages lighter. When I thanked the person who did most of the work she said she was delighted as she worked on late and her husband had to do the weekly supermarket shop on his own! She also added that she found it very therapeutic sticking on all the labels and would like me to produce a magazine every week - no way Jose!

I concur with all the remarks about John Lester's excellent article, just a pity that he isn't a forum member and therefore won't see them. One thought did occur to me though, I wondered what Duncan McLaren would have made of this book had he read it. If he can read so much into Enid's mention of a large torch, what on earth would he have made of the two central characters, Willie and Fenny!!

As always I thoroughly enjoyed all the articles from our regular contributors - Anita, Rob, Terry, Dennis (Lenoir!) and of course David Cook, and special thanks to Anita for kindly typing out David's article for me.

I can't agree with Jen about the green writing on the Holiday books page, if my elderly eyes can read it, she shouldn't have had a problem.

I take your point, Rob, about having another of Enid's adult stories in there, but they are all very short and I am pondering over the possibility of producing an 'adult' booklet for next year's EB Day. The bulk of this would be the unpublished play, Summer Storm, and if there is any enthusiasm for this and time (and scanner) allow, I may well do it.

I do intend to have another article from Teachers World in a Journal soon, but I am being sent such good material that space has simply not been available recently. I can't make the Journals any larger, the last two have used up all the subscription money and more!

Sheila Ray emailed me to say that it was a pity there wasn't a tribute to Gillian Baverstock in this issue and she has sent me an article which I will publish in the next Journal.

[Rob Houghton]

Yes: it would be nice to have a tribute to Gillian, that's a good idea.

Tony: you are certainly good at whetting our appetites! Now I am really drooling over the possibility of having a booklet containing 'Summer Storm', which I have been interested in reading for ages.

I had no idea that Dennis Worley was Lenoir - I have really enjoyed his articles on the secret seven.

I have to agree that I found no probs in reading the lettering in the middle pages, though perhaps it would have been a little clearer with the 'shadow' taken off the smaller green print? But it didnt really bother me at all.

As for Enid and the charities, I tend to feel that her just encouraging the children to think about charities was enough, regardless of whether she got her 'hands dirty' or not. Enid was very high profile, and I'm sure her input helped a great many charities regardless of whether she was personally involved with them or not. Many women of Enid's status and profile would have turned totally away and not been interested in helping at any level.

[Anita Bensoussane]

You're a dark horse, Lenoir, but then your name is "Le noir"! I'm looking forward to the next part of your article, and to Sheila Ray's tribute to Gillian Baverstock.

Summer Storm and the adult stories would make a great booklet, Tony. Are you still thinking of producing Summer Storm as a photocopy of the original manuscript, as you once suggested?

[Robert:] I agree with Anita about the Journal cover picture, too - a strange looking gate, as she says, and the circus tent does look as if it's been swallowed up by the bars on the gate. It's interesting to compare it withJoyce Johnson's later illustration, depicting the same scene, in the book version of the story. It is a similar 'shot', but the gate has been improved, and the Big Top looks better sited. the suitcase has vanished completely, though! Fenella also looks older, somehow in the book than in the cover illustration on the Journal.

That's interesting, Robert. I'll keep an eye out for that book illustration when Tony adds pictures from Come to the Circus! to the Book Listing.

[Tony:] I wondered what Duncan McLaren would have made of this book [Come to the Circus!] had he read it. If he can read so much into Enid's mention of a large torch, what on earth would he have made of the two central characters, Willie and Fenny!!

Duncan might be interested in the story my son read last night from Twelve Silver Cups and Other Stories (Award) - "Mr. Chunky's Chopper"!

Anita

[Tony Summerfield]

I'm re-reading the Secret Seven books at the moment so I'm very interested in Dennis T. Worley's series on the SS and Susie.

I’m pleased to hear that!
Looking forward to receiving my copy – should be arriving in the week ahead I hope.

I don't think I was giving away any secrets about Lenoir's identity, the above quote should have given you a strong clue!