Joan Aiken’s Haunting Garden…

Fruhstuckgarten

   A haunting moment from Joan Aiken’s childhood was turned into one of the most memorable stories she ever wrote – ‘The Serial Garden’.

Do you remember, as a child, coming home to find that your room has been rigorously 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 deeply memorable story, one of the many she wrote during her lifetime about the wonderfully 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 belonging to her, and that she herself is imprisoned in the book, in the garden (thanks to a bit of parlour magic) still waiting to be rescued by her long lost love,  the Court Kapellmeister and music teacher who her father forbade 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, and found by Mark, can the garden be re-created, and 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, 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

Joan Aiken’s Musical Inspiration in dark times

Japanese Touch of Chill

    “Heard melodies are sweet,” Keats wrote, “but those unheard are sweeter.” For Joan Aiken this idea provided the inspiration for stories full of  music, in times when it was especially needed, which the reader can hear only in his imagination.

She created some wonderful magical music, like a tune which when whistled or sung brings a cardboard cut-out garden to life in her unforgettable story of The Serial Garden, or a record which quietly turns itself over while sending the listener into a mythical garden of her own, in More than you Bargained For; or a kingdom so dedicated to music that when the people forget to honour their goddess, they are stricken with a burning, freezing curse until she can be summoned back by notes from a harp that comes from deep water, a harp that no man has ever played,  A Harp of Fishbones.  In many of her stories, music is understood to be a powerful and healing force, which is almost better when you have to imagine the tune.

Brought up in a household with only a piano to provide music, where her mother regularly gathered the family to sing, and before anyone had a record player or even a radio, as there was no electricity in their village, Joan Aiken became musically literate enough to make use of ‘heard melodies’ that stirred the imagination of her readers too.

One of her earliest stories, The Mysterious Barricades, is inspired by a piece of  François Couperin  harpsichord music which for years she played on a 78 record. (I vividly remember her small but colourful record collection in an old tin box, which included Handel’s Harmonious Blacksmith and Beethoven’s Rage at a Lost Penny, some saucy songs by Jean Sablon, and the Red Flag among its treasures.) The Mysterious Barricades inspired a fantasy she set in a Transylvanian territory that might have come from  Mary Shelley, except that it was also a wry comment on the kind of Government Department where she had worked in the 1940’s, helping to keep the wheels of Britain turning during World War Two.

The gloom of the restrictive red tape and deadening bureaucracy of those times could only be lightened by one of her typical flights of fantastic imagination.  In Joan Aiken’s story of their musical quest to escape from it all armed only with a cup of tea and a biscuit, two civil servants and a canary finally arrive together on a mountain top and play a piece of music ‘of more than mortal beauty’ which causes those Mysterious Barricades to open and let them through.

Mysterious Barricades

Illustrations here and below by Pat Marriott

Music was a great support to her at that time – going to concerts and singing in London churches provided solace in those dark days, but she wasn’t afraid to parody the over seriousness of the musical establishment of the time either. In the 1950’s Joan Aiken worked at the short story magazine Argosy first editing, then writing, or finding,  copy to fill odd corners and producing a monthly ‘log book’ full of imaginary news items.

   It is perhaps not surprising that the first story of hers that was accepted for publication by Argosy in 1955 also had a musical inspiration; called Some Music for The Wicked Countess,  it has as its hero a serious young composer who finds himself in the wilds of Ireland earning his living as a music teacher in a village school, but who is utterly unaware that the surrounding forest is not only ‘stiff with enchantment’ but also contains a magical castle inhabited by a scheming Countess determined to lure him up to her bower for a musical soiree…

He fails to fall for a whole series of her magical entrapments, and in the end the enraged Countess is forced to appear to him in person while he is out in the forest collecting moths. Slightly bewildered he follows her up ‘half-a-hundred stairs’ to her tower,while she sends a couple of leprechauns to fetch his piano, and having unwittingly avoided drinking another magic potion he sits down to perform:

Wicked Countess

Countess   The  cover illustration at the top is from the Japanese edition of another collection of Joan Aiken stories, A Touch of Chill. The story called A Rented Swan was also originally published in Argosy  and tells of a composer who finds an apartment with a grand piano, but discovers too late that it also includes a swan. “It’s in the lease, Sir, didn’t you read it? Furniture, fittings, appurtenances, and one swan; care of aforesaid swan to be undertaken by the hereinaftermentioned Henry Wadsworth Oglethorpe.”

(and of course it isn’t an ordinary swan, but an unfortunate piece of enchantment, and the story was originally, fiendishly, entitled Lease of a Gold Banded Pen…)

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Read here about a collection of these early stories  The Monkey’s Wedding  with an introduction about Joan’s Argosy days

Monkey's Wedding

And find these and more mysterious stories in the new Joan Aiken collection from

Small Beer Press

The People in the Castle

Now out in Paperback

People paperback

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‘One may smile and smile and be a villain…’

Dido&Pa

‘A smiling villain, with some sympathetic traits, can be very much more terrifying than one who is merely hostile, because the reader does not know what he or she will do next,’    Joan Aiken wrote. 

Even more alarming when this is someone who should command your trust, someone who is even perhaps a member of your own family, as in the title quotation above from Shakespeare’s Hamlet, where the villain in question has murdered the hero’s father and married his mother.

Joan Aiken recognised the awful power of this kind of disguised but really dangerous villain, and she herself certainly possessed the power to create a few who would haunt the reader, and her hero or heroine too. One of her story development suggestions in her writer’s guide The Way to Write for Children, was to show a quick glimpse of the villain’s true nature early on, as the plot begins to build. One might think of Miss Slighcarp, or Mr Grimshaw in The Wolves of Willoughby Chase who, while pretending to good manners and civil behaviour, show sudden alarming flashes of temper or violence, barely controlled. Another example of this uncontrolled viciousness in a character that she describes is Dumas’ Catherine de Medici –  who first shoves an unfortunate messenger through the oubliette, then has to descend thousands of stairs to retrieve the letter he was carrying…

One of the most duplicitous, and heartbreaking villains in the whole of The Wolves Chronicles,  her series of twelve books which contains a whole catalogue of wolfish villains, was Dido’s own Pa, who really took the biscuit. Not only did he have her kidnapped, left to drown, entrapped and scrobbled in every possible way that suited his selfish purposes over the course of several stories, but because of his cheery banter and heart rending songs, she, and we, forgave him time after time.

It is only after he leaves Dido’s younger sister Is, her slapdash mother, and a cellarful of sleeping orphans to be burned to death, and then calmly announces to Dido that he is colluding in the murder of her friend Simon, to set her up as a puppet Queen, that Dido is forced to see him as he really is:

End ofPaEnd ofPa2

Pa eventually gets his comeuppance, and a horribly suitable one too, but to the end of her days Dido will never understand how anyone could be so callous, so utterly greedy and self-serving, even to his own flesh and blood – his cold-blooded heartlessness, combined with his apparently heavenly gift for healing and soul stirring music made him a simply unbearable character.

Joan Aiken was aware of the dreadful power of family members and the powerlessness of children supposedly in their care; many of the most appalling villains in the series also turn out to be members of the Twite Family – hideous Gold Kingy, alias Uncle Roy, who Is meets in the freezing wastes of his Humberland Kingdom, memorably threatens her:

Kingy

By the time we meet the next Twite Uncle, with Is and her cousin Arun in Cold Shoulder Road, we are becoming distinctly wary:

DomdelaTwite

In her introduction to the Folio edition of The Wolves of Willoughby Chase fellow children’s writer Katherine Rundell quotes Joan Aiken and adds her comments:

Aiken said in an interview: ‘What scares me? Gangs, irrational rage, people who can’t be reasoned with..’ 

“‘People who can’t be reasoned with’: that, in The Wolves of Willoughby Chase, is the true horror; people who refuse to recognise basic human imperatives like kindness or good jokes. It’s the wolfishness of Miss Slighcarp that gives the book its power.”

Should children be presented in their reading with really hair raising villains? Joan Aiken believed that they should, that being scared was a useful and sometimes even pleasurable experience, certainly within the confines of a story, and that exercising their imaginations in this way might even help children to enhance their powers of discernment, should they have the misfortune to encounter anyone similar in real life…

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Want to discover a few more?

See a complete list of  Joan Aiken’s  Wolves Chronicles here

 

and find her extremely entertaining ( and useful!) guide The Way to Write for Children here

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Meet Mortimer – Riotous Raven of Rumbury Town…!

MortFridge

It was a dark and stormy night (of course!) when Mortimer entered the life of Arabel and the Jones family – and Rumbury Town N.W.3 and-a-half would never be the same again.  Arabel’s Raven is the first of the many tales of his adventures told by Joan Aiken and masterfully characterised by Quentin Blake’s illustrations.  The devoted pair appeared on a series of Jackanory readings, and then in books and a puppet series for the BBC which earned them a following of fans of all ages.

It was love at first sight – and forever – for the pair who Joan Aiken rather wickedly described as her version of the relationship between the ego and the id:

MortFridge1

Before too long chaos reigns in Rumbury Town, and Mortimer (through no fault of his own of course!) is in the thick of it:

MortRaid

Amazingly he does, with the evil squirrel strapped to his back, and is soon holed up in the gangsters’ hideout – while Arabel goes into a decline, wondering where he can be?  But soon everyone is on his trail…  and now strange things are happening at Rumbury Tube station, but no one can solve the mystery?ReporterReporter1Reporter2Pretty soon everyone is going round the bend, and it is up to Arabel to keep her wits about her and unravel the hilarious trail of chaos that leads her back to Mortimer…will she ever be parted from him again? 

“Nevermore!” says Mortimer.

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Read more about Arabel & Mortimer and the BBC Puppet Series

on the Joan Aiken Website

NEW EDITIONS  coming from Puffin Books

ArabelAndMortimerStories NEW

Buy Now! Bumper edition with Six Hilarious Stories!