Joan Aiken’s Haunting Garden…

Fruhstuckgarten

   A haunting moment from Joan Aiken’s own childhood was turned into one of the most memorable stories she ever wrote – ‘The Serial Garden’, but this sad story went on to haunt her too.

Do you remember, as a child, coming home to find that your room has been completely turned out, and some of your much loved, if dusty treasures tossed in the bin, only to have your mother say in reply to your outrage and anguish:

“Oh you didn’t want that did you? I thought you’d finished with it.”

And this (spoiler alert!) was the terrible memory that inspired one of the saddest stories Joan Aiken ever wrote.

In this tragic story, one of the many she wrote during her lifetime about the eccentric Armitage Family,  Joan Aiken has the son, Mark discover that a cut out garden from the back of a series of cereal packets comes to life when he whistles or sings a certain tune. When he goes into the magic garden he meets the Princess of Saxe Hoffen-Poffen und Hamster, and learns that the garden comes from an old book of pictures and that she herself is imprisoned in the book, in the garden (thanks to a bit of parlour magic!)  and still waiting to be rescued by her long lost love,  the Court Kapellmeister and music teacher who her father had forbidden her to marry.

As the haughty princess explains:

“All princesses were taught a little magic, not so much as to be vulgar, just enough to get out of social difficulties.”

– which was just what she used it for, concealing herself in the book, so that she could run away with her suitor.

Serial PicThe original illustration of the cut out ‘cereal’ packet garden was by Pat Marriott

   But the maid who was supposed to give the book to her beloved Kapellmeister never delivered it, and the book is lost.  Only when the pictures are reproduced on the back of a Brekkfast Brikks cereal packet many years later, as found by Mark, can the garden be re-created; the tune which has unwittingly been passed on to Mark by his music teacher, turns out to be the one which can bring it to life – is there an amazing last chance of happiness for the long estranged lovers?

But while Mark is out, urgently fetching his music teacher, Mr Johansen, his mother, Mrs Armitage has been spring cleaning….

The brisk, no nonsense character of Mrs Armitage,  was based on Joan’s own mother,  Jessie Armstrong, who re-married after her divorce from Joan’s father, the poet Conrad Aiken, to her second writer husband, Martin Armstrong.  When Joan was young, Armstrong was famous for his own series of children’s stories for the BBC radio Children’s Hour, about a rather polite 1940’s family in thrall to their various talking pets: Said the Cat to the Dog, and Said the Dog to the Cat. Joan’s own ‘Armitage’ family stories, the first of which she also sold to the BBC, had begun as a tongue in cheek parody of his, and were based very much on the family’s life in their remote Sussex village where Joan lived until she was twelve; but the Armitage family’s ongoing magical adventures went on to become her lifelong passion.

The story of ‘The Serial Garden’ was originally published in Jessie’s lifetime, in a collection of Joan Aiken’s fantasy stories called A Small Pinch of Weather ; the book was even dedicated to her mother, but in later years Joan came to be haunted by the sad ending of the story. Perhaps she felt it was  unjust to her mother’s memory; she certainly was taken aback by the many letters she got from readers protesting against its rather shocking ending.  Joan wanted a chance to make amends, and although she couldn’t undo the dreadful ending of the first story – once written she said, the story could not be undone, but she thought she could perhaps give Mark and poor Mr Johansen another chance to find the vanished garden and the lost princess.

So, just before she  died Joan  was preparing a last book –  a collection of all the Armitage Family stories she had written over the years, including four new ones  and a sequel to ‘The Serial Garden’ story, giving the chance of a hopeful solution to the estranged lovers.  She planned that the book would be published under the title of The Serial Garden to alert anyone still waiting for their long promised happy ending to the sad story, that it might finally be on the way.

If you missed it, and are one of the people still haunted by that unforgivable ending, all is not entirely lost – the complete book has come out, and perhaps hope can spring again…and you can also enjoy the entire collection of these witty and wonderful stories!

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See a Picture Timeline showing the history of this haunting story

and the family and village that inspired it

in The Guardian newspaper online

3.Farrs

Joan’s childhood village home

Read more about Joan’s childhood in the village that forms the magical background to The Armitage Family stories

Read about the Prelude to the stories

which tells how the family come to have their magical Mondays

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Visit the Joan Aiken Website to find UK & US copies of The Serial Garden

Serial Gdns Webpage

An Easter Egg story – Joan Aiken & Jan Pienkowski – tell the story of an egg hunt…

House Egg story

Joan Aiken’s Necklace of Raindrops stories famously illustrated by Jan Pienkowski have been bedtime reading favourites for years. In this story – A Bed for the Night – four travelling musicians with wonderfully tongue in cheek names are wandering in search of a home:

Bed for the Night

In classic fable format, the friends ask various animals and people they meet if they can offer them a bed for the night, but everyone turns them down…

Finally they meet an old lady, who has a house like Baba Yaga’s – standing on its one chicken leg – which has just laid an egg!

But this time the story ends happily, although not in the way we expect – the brothers hunt for the egg and bring it back, but by the time they do it has cracked – it’s hatching, into another one legged house, and so the old lady rather crossly gives it to them – because now she can’t boil it for her supper…

So now they have a little chicken-leg house of their own!

Bed for the Night Pic

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Read more about this beautifully illustrated collection A Necklace of Raindrops

Or find the audio version read by Joan Aiken’s daughter

Lizza Aiken

Free Gift from Joan Aiken – Added Magic!

Gift Giving &amp; back

The Gift Giving ~ Favourite stories by Joan Aiken

‘Storytelling is far, far older than the printed word, and it is still the basis of fiction for children – probably, though much neglected, the basic art of all fiction. 
Surprisingly though, the storyteller’s gift is by no means universal among children’s writers – their work may be thoughtful, evocative and beautifully written, but they don’t always make readers want to know what happens next…’ 

So wrote John Rowe Townsend, himself a much loved children’s writer who chronicled the Golden Age of children’s literature in the second half of the twentieth century, promoting the now widely accepted wisdom that children’s literature deserves to be taken more seriously by readers of all ages.

But what is the storyteller’s gift? Perhaps it is the gentle authority of  a voice which slips easily between the world of everyday and the world of fantasy, addressed not to child or adult, but to the memory of that fantasy world we all knew – a voice which allows the suspension of disbelief by taking us away on a magical ride before we even know it is happening.  More importantly, it is part of the current development in which the division between writing for children and writing for adults is starting to disappear, and where the standard of children’s writing, like the storytelling of the past that necessarily appealed to groups of all ages, is being more seriously regarded. Reading aloud, like storytelling, is increasingly being recognised as an important part of family life, and if books for children are to flourish, they must appeal to the older readers too!

Joan Aiken wrote both for adults and children, but increasingly recognised the pleasure of writing for an audience of all ages:

Universal storiesjpeg

Perhaps for a story to be really universal, it has to draw on the accepted references and rules of the folk or fairy tale, the patterns and forms of the stories that have been told through the generations; then with the addition of modern ingredients, and new or humorous twists that confound the expectation, it can take the listeners or readers into new and current territory.  Joan Aiken was certainly able to do this,as Townsend wrote:

‘ Her imagination was so endlessly fertile that she could afford to pour her ideas recklessly into her stories at a rate that would bankrupt other writers in a matter of weeks.’

Joan Aiken would take the conventions of the classic story – boy sets out to seek his fortune, girl helps wounded creature and is granted three wishes –  and turn the  pattern on its head.  Her characters seem to  have heard the stories too, they certainly know better than to push the ugly old crone out of their path – worst mistake ever! Or to neglect a squeaking gate, fail to share a last crust with an unpromising looking stranger, or to keep a secret – every child understands these rules. These modern heroes can tell their own story, add their own magic – by refusing the third wish, or deciding to take their fortune into their own hands, leave their parents’ kingdoms or cottages and become a cook, a train driver, a scientist – or even a reader of stories, like the boy who decides to spend his days reading to the sea.

Joan Aiken’s stories have that mysterious added ingredient that makes you return to them again and again at any age – as she said:

     ‘They come from nowhere, and they are aimed at nobody’s ear; or rather they are aimed at the ear of anybody who happens to pass by just at that moment’ 

…and they have a lasting flavour, just like those classic tales that came before.

Favourite Stories J.A. Small Pinch quote

One of my favourites, from Joan Aiken’s very first collection,  illustrated here by her early collaborator Pat Marriott, is called Cooks and Prophecies. It tells the story of a rather plain Princess, cursed at her christening of course, who decides to become a cook, but thanks to the scheming and jealousy of all the other cooks in the Kingdom, ends up in a desert with a mournful dragon.  Luckily she has her cookbook, so she can read aloud to him, and also a radish, which cheers him up instantly – because of course he isn’t really a dragon, and is merely the subject of another unfortunate prophecy!

ja2-copy

‘When the dragon feels saddish, Feed him on radish.’

But of course Joan Aiken tells it so much better…

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You can colour a dragon picture yourself on the Fun page of the Joan Aiken Website

 Read that story and others in a collection of favourite stories

~ The Gift Giving ~

Virago Modern Classics

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Girls Running from Houses…

3.The Fortune Hunters2

What is behind all those fabulously lurid 1960’s romance novel covers which invariably show a beautiful young woman fleeing a dark, sinister house in the middle of nowhere? Not what you might expect…!

Although the cover art of these 1960’s and 1970’s paperbacks has now become increasingly popular on internet sites, the origins of this particular genre of novel, together with its typically romantic cover images, are swathed in as much mystery as the gloomy fog-enshrouded castles from which these girls are so desperate to escape. Why did this particular image become such a powerful symbol?

Joan Aiken would never have expected her 1960’s suspense novels to be seen as part of the genre but the rather astonishing artistic conventions of the time dictated otherwise. She was often amazed to see her heroines flamboyantly pictured on American paperback covers, caught up in fantastic scenes which hardly ever took place between their pages. What were the literary roots of these ‘Gothic Romances’, and what caused  their popularity in the middle of the twentieth century?

Women of the period were torn between a post-Second World War retreat to the ‘haven’ of marriage and domesticity, and the stirrings of consciousness brought about by war work and the newly developing feminist movement, which began to offer an alternative prospect of independence and fulfilment in the wider world.

2.Trouble with product X

The American TV series Madmen portrayed this period vividly for a whole new generation of women, who have been amazed not just by the fashions, but by the unexpectedly oppressive conventions of the time. Whether as a bored and trapped housewife, or sexually vulnerable office girl, these women did not necessarily have the freedom to enjoy the changes that the rest of society was going through. Gothic Romances offered an escape; the chance to experience, if only vicariously, some of life’s alternatives. They seemed to be an adult version of fairy tales, or girls’ adventure stories, where independence of mind and feistiness of spirit were rewarded, not squashed, and girls had the freedom to discover their own true selves and abilities. The women might start out single and unsupported, but they used their talents as nurses or governesses to win the hearts of wealthy heroes – not unlike the Cinderella plot of the film Pretty Woman, only in Gothics, prostitution wouldn’t have been a career option – the heroine was expected to defend her virtue until she got a wedding ring! 4. Austen Gothic

These novels, aimed primarily at women, had first appeared at the end of the eighteenth century at another time of change and revolution, and the genre was later parodied by Jane Austen in her own Northanger Abbey, which made fun of young ladies who read too many sensational novels about sinister goings-on in dark castles, and were thus blinded to the rather more present perils of single women in real life. The option, even half a century later, of becoming a governess like Jane Eyre, led more often to a life of drudgery than to romance and marriage. In Victorian times, although marriage was still the safest option, women may yet have dreamed of escaping their idealised but restrictive role as ‘Angel of the House’ and yearned to go off into the world like Mary Kingsley or Florence Nightingale.

Meanwhile, popular novelists like  Dickens and Wilkie Collins were having their vulnerable heroines incarcerated in mental asylums, or dying of wasting diseases, and so kept firmly in their place. It wasn’t until after the First World War that women novelists really began to make their ideas heard, and to produce more realistic writing for the many single women who found themselves with no alternative but to make an independent life, when, following the vast losses of men, married domesticity was not an option. At the same time, the growth of local lending libraries, distributing novels by and for women, sustained and tantalised their married sisters, who, like the heroine of Brief Encounter, had given in to a safer solution, but with it given up all hope of adventure or personal fulfilment. At the very end of this inter-war period, one of the great romantic literary models appeared – Daphne du Maurier, who, with her novels such as Frenchman’s Creek and more especially Rebecca, set a trend for later romantic novelists to follow.

5.Mistress of Mellyn You have probably never heard of Eleanor Hibbert, but under the names of Jean Plaidy, Victoria Holt and Philippa Carr, she sold more than 100 million copies of her own romance novels. Her first title was Mistress of Mellyn – in plot terms, the ultimate Gothic Romance, modelled on Rebecca – in which a governess goes to a lonely Cornish mansion haunted by presence of the hero’s mysteriously deceased previous wife. The novel is credited with establishing the form, and is now widely regarded as the model for the last flowering of the Romantic Gothic novel of the 1960s. It also bore the cover that would set the trend for the many that followed – the picture of the haunted heroine, torn between past and future, traditional relationship or escape?  The girl running away from the house.

Until then, especially in the USA, pulp fiction magazines (so called because they were printed on cheap wood-pulp paper, unlike the more expensive ‘glossies’) were providing most of the escapist fiction available, whether horror or romance, with gaudy, sensational artwork on their covers. The new paperback companies, like Ace or Dell, who took pre-published novels from the hardback houses and produced them in inexpensive ‘pocketbook’ editions, began to take over the market, but they continued the tradition of illustrated magazine covers and used them to signal particular ‘genres’, such as what came to be known as the Gothic Romance.

7.Jane Eyre

6.Argosy Weekly

Suddenly these paperbacks were available everywhere, in drugstores, supermarkets, train stations and, of course, airports – leading to the term ‘airport reading’ – and they had to be eye-catching and easily identifiable, or ‘cover coded’, with what was now a brand image of the girl and the house.

Authors like Joan Aiken, who might be perfectly aware of the conventions of the genre, and who were more likely to be writing parodies of the style, in the manner of Jane Austen in her own Northanger Abbey, could nevertheless find that paperback copies of their novels featured startling images on their covers that bore no relation to the content. Even if your heroine was a jeans-wearing, car-driving, educated working girl, she could still find herself depicted at a complete loss, running away from a haunted house in her nightdress, if the publisher thought this would sell more copies.

Apparently women readers identified with the fantasy of a heroine of spirit, intelligence and heart, battling alone against tremendous odds of a rather colourful kind!

But it is worth looking, as feminist critics of the genre have since done, at what is beneath this lonely quest. Is the choice really between submission to marriage and its hoped-for security, or being swept into the evil embrace of a dark stranger – or is the escape depicted on these dramatic covers actually from something still more sinister? There is a reason why no actual villain appears on these covers, because it is the House that they are escaping from, and all that it represents – the life that their mothers led, and the repressive conventions, sexual and social, that would otherwise keep them trapped in the roles expected of them – those hitherto portrayed by male novelists.

Of course they want to escape – even if they have to do it barefoot over the rocks at midnight. And if it had to be shown in these strangely subversive images, then at least it was a format that was recognisable, and that to readers signalled a form of liberation if only in fiction, that they could achieve.

Joan Aiken, Daphne du Maurier and many others before them, including Jane Austen and Charlotte Brontë, have had their work and their heroines apparently belittled by this sensational packaging. But at the same time, a powerful subliminal message was being conveyed: you too could free yourself from the conventions of society!  There was nothing to be ashamed of in using your imagination, and by reading the works of other women – escaping from the domestic chores with a novel for an hour or so.

Years later Joan Aiken was delighted to discover a copy of one of her own early novels on a New York book stand, with its dramatic Gothic cover showing a girl hot-footing it away from an imprisoning past, the book now hygienically shrink-wrapped and labelled:

Used, sanitised, yours for One Dollar!

Reader, she bought it….

Herondale Edit cover

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Find all Joan Aiken novels on her website

Six Early Aiken Gothics now available from Orion Murder Room 

Ribs of Death &amp; Fortune Hunters

Also available from Bello Macmillan

Period Romances and Austen Sequels