The mysterious Joan Aiken – where did she get her ideas?

Gladys Mystery Picture

One of these people is Gladys, in Joan Aiken’s story about her strange ‘reappearance’, written, and equally mysteriously illustrated, when she was about seven years old.

Joan was taught at home by her mother, who gave her exercises in writing – in this case she had to create a whole story told only through conversation – which makes you wonder about the ones she overheard as a small girl, and what she made of them…?

This one is certainly mysterious.

Here is the whole story:

Gladys Mystery story

This is simply masterful and full of dramatic technique!

Joan as the narrator runs rings around poor Mrs L. who tries to be pleasant and chatty but gets the most gnomic responses in reply. Gladys and her cat have clearly had an unfortunate history, but it seems as though the cat has the upper hand…? Sadly Joan isn’t going to share that story.

Instead of entering into the comfortable and hopefully scandalous gossip Mrs L. is clearly angling for, Joan brutally changes the subject:

“Look at that holly.”

Did Gladys try to dispose of the cat in some way? Has the cat also reappeared? We are left to imagine all sorts of possible horrors…maybe even ghosts?

Luckily at this point David, a third character joins the conversation, (in fact he is Joan’s little brother!) Mrs L. tries to save face, and look as though she is completely in the picture (which for all we know she is?) and take a grown up stand in the dialogue, commenting on the trouble Gladys has caused her ‘poor mother’ while perhaps also delivering  sly snub of her own to the cheeky storyteller.

Meanwhile Joan’s own mother, probably well aware of the social parody in her small daughter’s writing – and perhaps suspicious about the characterisation of Mrs L. – gets her own back by sharply underlining a spelling mistake; in fact there is another, but she seems to have missed that one!

Knowing both these two characters makes the whole exercise even more fascinating – Joan had a great respect for her mother, but always saw her with a very clear eye – in fact she reappears more than once as the model for a much loved, but fairly mysterious parent in many of Joan’s later novels…

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Wolves…the beginning

Wolves original

Joan Aiken’s The Wolves of Willoughby Chase has become a classic which for more than fifty years has thrilled and delighted readers all over the world, but the book itself has a story almost as dramatic as the adventures of its two desperate orphan heroines – this was a book that nearly didn’t get written.

It all began one autumn day in 1953…when she gave herself a wonderful birthday present.

Having survived the dangers and difficulties of World War II, and after living for some time in an old Greenline bus,  Joan Aiken was finally secure in her own house in the Kent countryside with her husband and two small children.  One afternoon as she was out chopping wood for the fire, she thought:

“Now at last I can write my book, and make it the most marvellous adventure ever!  I can fill it with all my favourite things – not just one dreadful villain but a whole pack of them; castles  and dungeons, banquets and ballrooms, shipwrecks and secret passages, and above all – indefatigable orphans facing unbelievable odds and triumphing over it all!”

She bought an old table, installed it in a corner of her bedroom, and on her twenty-ninth birthday – the date, Sept.4th, proudly inscribed at the top on the first page of an old exercise book – she began to write.

But just as in those stories she had relished as a child, disaster struck.  She lost her husband and her home, and for nearly ten years the story she had so eagerly started to write had to be put aside.  When she was finally able to take it out again, she said, reading that first page took her straight back into the world she had imagined years before, with its “winter dusk” where “snow lay white and shining over the pleated hills…”

Even after so long, the story poured out in an unstoppable flow: she stepped straight back into her own imagined historical age where train travellers carried muskets or fowling pieces to defend themselves from attacks by ravening wolves, where the rich dined on oyster patties in their furs and diamonds – but where a reversal of fortune could lead to ruin and starvation. Her  own years of struggle and responsibility had immeasurably  deepened her writing; no longer just a tongue in cheek parody of the melodramas she had once revelled in, the book now reflected her own experience of tragedy, poverty and grief. It was with mixed feelings of relief and hope that she was able to complete it and send it off.

But then she patiently waited a year before she dared enquire about its fate – only to discover that it had been lost, left on a windowsill and forgotten!  And the first publisher who did look at it thought it was much too scary: “Could she take out the wolves?”

Of course she said no…

The next publisher loved it, and recognised its parodic style, but also its very real dramatic impact – the only problem was the title, so Bonnie Green became The Orphans of Willoughby Chase, and then the more memorably alliterative The Wolves of Willoughby Chase.

The book was finally published, in England in 1962, illustrated by Pat Marriott, and then the following year in the USA where it appeared with its wonderful cover  by Edward Gorey, now itself a classic image, and was duly hailed by Time magazine as:

“One Genuine Small Masterpiece”

Gorey small

Could you write  a Children’s Classic?

Joan Aiken Future Classics Prize – Entry details here

Read about “Wolves” and all the following books at the Joan Aiken website

Read that first page as Joan Aiken originally wrote it – spot the changes..?

*****

New editions of the book continue to appear –

Look out for a new Puffin Book, and a Christmas Folio edition.

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“The Apple of Trouble” an Armitage Family story

Read a taster of an aptly named story from ‘The Serial Garden’

by Joan Aiken at Virago

Apple

SerialApple1SerialApple2

….Mark is persuaded to make an exchange with the little man who makes off at top speed on the brand new bicycle – unfortunately this was a present from Great-Uncle Gavin who has come to look after Mark and his sister Harriet while Mr and Mrs Armitage take a much needed holiday…

Uncle Gavin nearly bursts a blood vessel when he hears… “Did what? Merciful providence – an apple?…Where is it?”

SerialApple3SerialApple4SerialApple5How are Mark and Harriet going to get rid of these Un-Friendly ladies before they avenge themselves on Great-uncle Gavin? Just one of the many adventures that befall Joan Aiken’s Armitage Family, usually on a Monday, but sometimes on other days too.. wonderfully illustrated by Peter Bailey

7 Page 175

Wonder how they do?

This and all the stories about the extraordinary Armitage family are in

The Serial Garden

Now published by Virago Modern Classics

Click to visit the website and see this and the US edition

read a complete story, plus Lizza’s introduction telling how Joan came to write these delightfully crazy  stories

*****

Musical Inspiration in dark times

Japanese Touch of Chill

“Heard melodies are sweet,” Keats wrote, “but those unheard are sweeter,” and for Joan Aiken they often provided the inspiration for stories full of  music which the reader can hear only in his imagination. She created some wonderful imaginary music, like a tune which when whistled or sung brings a cardboard cut-out garden to life, or a record which turns itself over while sending the listener into a story world of her own, 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.’  Music is seen as a powerful and magical force.

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

One of her earliest stories, The Mysterious Barricades, takes the same title as a piece of French harpsichord music, and produces a fantasy set in a Transylvanian territory that might have come from  Mary Shelley, except that it is also a wry comment on the kind of Government Department where she worked in the 1940’s helping to keep the wheels of Britain turning during World War Two.

The gloom of this deadening bureaucracy could only be lightened by a flight of fantastic imagination.  In Joan Aiken’s story of their musical quest to escape from it all, 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.

Music was a great support to her – 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.

One of these purported to be a memorandum from one of the tiresomely bureaucratic  Government Departments that she had worked in herself:

Music Argosy

    It is perhaps not surprising that the first story of hers that was accepted for publication by Argosy 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 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:

Countess**********

The cover illustration above is from the Japanese translation of a collection of Joan Aiken stories.The story called A Rented Swan was also originally published in Argosy

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

And find this story in the new Joan Aiken collection from Small Beer Press

The People in The Castle small png

The People in the Castle

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