An excellent middle-grade supernatural mystery about family, friendship, and ghosts.

Twelve-year-old Amy is unhappy about always having to babysit her developmentally disabled eleven-year-old sister Louann, which means she doesn't get any alone time with her own friends. (It also means Louann doesn't get to have her own friends, though this isn't something Amy realizes yet.)

After a last-straw incident, Amy ends up staying over with her aunt Clare so she and Louann can get a break from each other for a little while. Amy and Aunt Clare have barely met, as Aunt Clare only recently moved into the neighborhood to stay at the previously vacant old family house until she gets a new job and can move back to the city. To Amy's delight, there's a dollhouse in the attic which is a perfect replica of the old house - complete with dolls of her deceased grandparents, Aunt Clare as a teenager, and Amy's father as a little boy.

Aunt Clare hates the dollhouse to the point where she doesn't even want to talk about it. The other thing no one in the family wants to talk about? What exactly happened to their grandparents. This gets extra awkward when Amy realizes that the dolls seem to be moving around by themselves...

A fast-paced, fun, spooky book with good family dynamics. Louann and Amy's relationship is central to the book, as is the dysfunctional position their parents have put them in by infantilizing Louann and not letting either her or Amy have their own independent lives. The mystery of what's going on with the dollhouse and why goes some way toward explaining why their parents are like that, and a long way toward explaining why Aunt Clare is the way she is. More importantly, it catalyzes a positive change in Amy and Louann's relationship, as well as their individual relationships with other people, when the two of them first have to function separately for the first time in their lives, then have to figure out the haunted dollhouse together.

This is not a "disabled people are magical" book - Louann and Amy have different strengths that help them deal with the supernatural, without that trope coming into play at all. The book does contain depictions of ableism but they're not endorsed by the author.

Thanks, [personal profile] mildred_of_midgard!

Two Brooklyn kids meet a friendly plumber and a black-and-white cat, find a set of unusual magical items - a folding ladder and a pencil - and use them to have adventures. The ladder can transport them to other places (conveniently, it shrinks when folded), and whatever the pencil writes becomes reality for the thing it's written on - so you can write "sardine" on a banana peel to feed a cat (but you need to write "canned" if you don't want it to be alive), or 3" on your arm to shrink yourself to the size of a mouse (not wise when you're around a cat).

Ruth Chew's books are the ultimate in translating childhood imaginary games into fantasy books, as far as I'm concerned. They take me straight back to the good parts of my pre-internet childhood, when I imagined walking around on the ceiling, shrinking to explore my house or garden at mouse-size, or being able to conjure up a box of my favorite cookies. In her books, kids get to do exactly that. They have just enough danger and tension to be exciting, but the overall atmosphere is curiosity, adventure, exploration, and delight.

My favorite part of this one is when the mouse-sized kids dive into the neighbor's aquarium and explore it. The illustration is incredibly charming.



Available on Kindle as part of this collection:

A brother and sister notice strange goings-on in the previously unoccupied garden next door, and decide to investigate. What follows is an utterly delightful cavalcade of wish-fulfillment, humor, small-scale adventure, and charm, as they fly on magical sunflower petals, shrink to the size of ants, and confront a dragon.

If you, like me, read this book about thirty years ago and have been trying to remember it ever since, it's the one with the magical mint leaves and the shrunken kids stuffing themselves on chocolate cake crumbs.

An absolute delight, one of Chew's best. The illustrations are completely magical. I especially like Susan dangling from a weed to get the attention of the cat menacing her brother, the cat's eyes crossing as she tried to focus on the girl jumping on her nose, and the salamander-like dragon.

The Witch's Garden is included in a collection with two other Chew books. I haven't read The Witch's Cat but The Witch's Buttons is great.



In a clockpunk city of magic, orphan thief and puppeteer Coppelia befriends some tiny, intelligent homunculi looking to carve out a niche for themselves in a world made for much larger humans. Heists, friendship, and really cool worldbuilding ensue.

This is a delightful story, full of satisfying tiny people action and worldbuilding and character development. In Tchaikovsky's typical manner of providing way more from a premise than you even knew you wanted, there are multiple types of tiny homunculi - wood and steel and wax and bone and origami - all with their own strengths and weaknesses, personalities, and abilities. They, along with the cast of golems, thieves, cops, witches, and aristocrats, all have their own backstories and motivations.

I particularly enjoyed the homunculi's approach to gender and gender roles - one of my favorites is a dashing steel Scull who goes by "he," wields a razor, wears a dress, and is attempting to bring a daughter to life by magic.

Made Things is entirely satisfying as a novella, and there's a short prequel I intend to read ASAP, but I could read ten fat volumes of it and still want more.

Leaning into premise: A+. It promises tiny made people in a clockpunk world of regular-sized meat people, and gives everything you want from that, plus a solid heist story.

Made Things

Brother and sister Scott and Ruth buy a “build anything” kit, and quickly discover that the semi-invisible hammer marked “sizer” can change the size of objects… and people. Next thing they know, they’re driving around in matchbox cars, capturing a burglar in a toothbrush glass, and exploring a medieval world inside a castle they built themselves.

This isn’t one of my very favorites of Chew’s books, as I like her magic in the real world best and a lot of this one takes place in the past, but it’s sweet and charming and the whole matchbox car sequence is hilarious.

Do It Yourself Magic

It's included in this ebook omnibus:

A 1969 children’s book about three kids and an absent-minded scientist having scientific adventures. In this case, they (plus the excitable terrier one of them is dog-sitting) fall into Professor Bulfinch’s smallifying machine.

I loved this series as a kid and the ones I’ve re-read have held up very well. They have accurate science presented in a fun way, they’re funny, they have a lot of sense of wonder, and while they’re obviously set in a particular time, they’re otherwise not particularly dated.

This book, for instance, has exactly one line about “girls are a nuisance except Irene who’s great,” but that is literally it as far as sexism is concerned; while Irene is the only girl, she is indeed great and is never looked down on, sneered at, stereotyped, or left out of the action. Which is a whole lot better on that front than a lot of current media.

The Smallifying Machine is unsurprisingly one of my favorites of the Danny Dunn books. It’s chock-full of sense of wonder, in this case exploring the world while you’re teeny-tiny. Far from many books that don’t really explore the premise, despite its very short length this book has the kids riding butterflies, eating nectar, whacking a pool of water with a tiny nail to get some droplets to drink (this is the book that taught me about surface tension, in a way that ensured that I’d remember it), being knocked off their feet by an earthwormquake, and much more. It’s entirely delightful.

Also, I think Irene should be introduced to Adrian Tchaikovsky. Here she is explaining the tarantula wasp (which, thankfully, they do NOT meet in their adventures):

“Ugh,” said Joe. “How grisly.”

“It isn’t!” Irene said, warmly. “Not any more than people wanting to eat fresh meat. It’s wonderful. You just think about it. The wasp will never see those babies of hers. [more horrifying description] Long after she’s dead, her children are all taken care of.”

“That’s the most touching story I ever heard,” said Joe. “I’m going to write a poem about it. I think I’ll call it M is for the Million Spiders You Gave Me.

Now available on Kindle for $3.99: Danny Dunn and the Smallifying Machine

Brother and sister Peter and Jessica Blake convince their parents to buy a dollhouse inhabited by five circus dolls at an auction. There they meet Clara Clapshaw, the old woman whose stuff is being sold so she can move into a nice retirement home… which is at risk of going under. Uh-oh. And for added uh-oh, a weird magician bids against them and is angry when he doesn’t win.

Clara tells them that she got the dolls and house from Selena Pico, the last of a circus family, and that the dolls—the Picolinis—were based on the Pico family. She adds that they might be magical and oh yeah, there was possibly a Pico treasure that Selena had meant her to have that could save her retirement home but who knows where it’s gone?

Back at the Blake home, we learn that the Picolinis are alive and eager to get the treasure to Clara, BUT if anyone who doesn’t already believe in them sees them, they will become dolls. (The Picolinis are living replicas of the Picos but not their souls incarnated in dolls, as they were alive when the Picos were alive and mourned their deaths.)

A series of adventures ensues in which the Picolinis send messages to the kids by means of getting around the house in delightful ways like stringing wire between banisters so the tightrope walker can walk across it, the acrobat doing hand-springs down stairs, etc. The kids and their parents, meanwhile, follow the clues, search for the treasure, and evade the evil magician.

Finally, a book about tiny and/or circus people that was actually about tininess and circusness! It is very charming and also has delightful illustrations.

Thank you to everyone who recced this!

Picolinis, The

Sixteen-year-old Morris, upset over his parents' separation, is dumped by his mother on his Uncle Patrick. His uncle has a beautiful model castle with model people, which is part of a video game he bought and/or is testing for the company, I'm not sure which. How the video game and models interact is another matter which I never understood. Morris discovers that the model people, who are enacting a medieval war or rebellion (also very unclear) are alive/intelligent. How this works, you will possibly be unsurprised to learn, is never explained.

With the cooperation of a friend of his uncle's and the alternating cooperation/objections of Uncle Patrick, Morris watches the game unfold while falling in love with a tiny rebel woman who thinks he's God. There are clearly supposed to be parallels between the game and Morris's life, but the only one that I understood was that love is good and Morris should welcome his parents getting back together. Not sure that this parallel really worked as 1) him falling in love with a tiny model medieval woman had no parallel with his parents' relationship other than "heterosexual love," 2) admittedly we only see his parents through his obviously biased eyes but in terms of actual objective behavior, they both suck, 3) having his lady love think he's God was a giant (so to speak) ???WTF??? relevance??? all the way through.

Morris is extremely passive and dislikes everything and everyone (except his tiny lady), but in a kind of detached, vague cloud of unhappiness manner. His uncle's friend tries to befriend him and ends up introducing their mothers to each other; this possibly leads to his parents reconciling. But this doesn't help as much with the parallels as you'd think, as Morris has nothing to do with it, Morris never befriends him himself, and the only relationship with the game is that's how they met. His uncle's characterization was all over the map. It never made sense to me how the game worked even on a very literal level like how the real model was also a computer game, how the magical aspect worked, where the game came from, or why it was magic/an AI.

The model people deactivate and become plastic when they leave the model, so they never interact with a giant modern world (which was why I bought the book!)

On a tiny people level and on all other levels, it disappointed.

Under siege

In my ongoing efforts to review ALL the books I read, and which I invite you to join in on, I present to you The Mysterious Shrinking House (original title: Mindy’s Mysterious Minature), by Jane Louise Curry, a Scholastic children's book from 1970.

Mindy, whose parents run an antique shop in which they also live, bids ninety cents and a crate of pop bottles at an auction to win a filthy and decrepit dollhouse. But when she cleans it, she finds that it’s beautiful and incredibly intricate. Then her father uses SCIENCE to figure out that it was a regular house that got shrunk. (Upon microscope examination, he finds that the cells of the wood in a table are way tinier than normal wood cells, and reasons that rather than being a small thing carved from normal wood, the wood itself has been shrunk.)

Mindy’s elderly neighbor Mrs. Bright recognizes the house as her own childhood home which mysteriously disappeared. (Literally, it just vanished into thin air. This was so weird that nobody wanted to discuss it ever.) When she and Mindy examine it, there is an explosion, and then they are shrunk and end up in the dollhouse!

The first part of this book (up to this point) is delightful. I have a weakness for tiny things, being tiny, and normal things being huge, and was hoping for life in a dollhouse, facing down giant chipmunks, etc. That is not how the story goes.

And then there is an unexpected amount of plot. Read more... )

Also, needed more giant chipmunks. A giant chipmunk is briefly glimpsed, but that's all.

The Mysterious Shrinking House ( mindy's mysterious miniature)

I read The Indian in the Cupboard when I was ten or so, and while I was charmed by the idea of bringing tiny figures of people (and better yet, animals) to life, even then I thought the portrayal of the Indian seemed vaguely racist. Since I did not have a strong racism-o-meter at that age, I can only imagine what I’d think now and will not be re-reading that one.

I was not aware that there was more than one sequel, and was tipped off that there are in fact five of increasing levels of batshit, and that # 4 largely concerns Omri’s ancestor’s hatred of plastic. So I had to read it to see if it was as bonkers as it sounded. It was even more bonkers!

I had not read the intervening book 3, but it was helpfully recapped in this one. Apparently Omri and his friend Patrick travel to the time of the Indian Little Bear, where he is full-sized and they are tiny, only there is a tornado in his time and when they return they bring it with them and it destroys “half of England” (this is not at all apparent in book 4) and also Omri’s house. Before that Omri’s house is invaded by skinheads who are fought off by a miniature soldier.

In this book, Omri’s family conveniently inherits a house and moves into it literally without ever visiting it first. When they arrive, they are shocked to discover that the antique thatched roof has to be replaced at staggering expense. (Much is made of the expense early on but this is never mentioned again and has no consequences.)

In a bafflingly irrelevant subplot, his cat escapes on the first day, Omri spends tons of time searching for her, then totally forgets about her for the middle stretch of the book, then finds her and also her surprise kittens in the loft, then his friend Patrick falls out of the loft and breaks his leg. None of this has anything to do with anything else in the book.

When their new home is getting re-thatched, Omri discovers the hidden journal of his great-great aunt Jessica (the family relationships are SO COMPLICATED I had to check them all on Wikipedia; I couldn’t follow them at all in the book) which was continued by his great-uncle Frederick. Much of the book consists of this journal.

Everything else is both spoilery and absolutely batshit. Also incredibly melodramatic. And kind of inappropriate for its intended age group. I have to say, you probably don’t want to miss this. One word: plastics. )

Truly, a book worthy of the author of Harry the Poisonous Centipede Goes to the Seaside.

I will read and review the fifth and final book if enough of you promise in comments that you will give me some sort of reward, like write me a fic or draw me a sketch or review a book yourself or mail me a plastic figurine or make a donation to a good cause.

The Mystery of the Cupboard

Twelve-year-old orphan Maggie flames out of a succession of schools, as she’s decided that since everyone will hate her anyway, the best thing to do is make sure that happens immediately to skip the disappointment. She’s then sent to live with two awful aunts and a very strange uncle in a giant house where she discovers two living dolls and a living china dog in the attic.

I read this book when I was a kid and found it memorable without actually liking it, partly because I was very confused by the ending. I re-read it to see if the ending would make more sense as an adult, and also if I’d like it more. (Respectively, sort of and no.)

Maggie has two habits which make sense under the circumstances, but which did not endear her to me. One was her method of pre-emptively making people hate her, which was to be as mean and obnoxious as possible. The other is a mental game in which she explains ordinary things to the imaginary “Backwoods Girls,” who have never heard of anything, while she calls them stupid. This is present throughout the book, and goes on and on and ON for page after page after page. It was beyond tedious.

Her aunts are plain terrible. Her uncle is clearly supposed to be endearing, but he speaks entirely in unfunny whimsical jokes and flights of fancy, and literally never says anything normal ever, not even when it’s clear that his “humor” is confusing and upsetting Maggie.

The living dolls are in an extremely Uncanny Valley in that I think they’re supposed to be slightly creepy but mostly lovable, but came across to me as mostly creepy but not in a scary or fun/scary way. They’re dolls possessed or animated by the spirits of Maggie’s ancestors who died in a fire, and sit drinking imaginary tea and reading the newspaper headline about their death without ever understanding that’s what it is, and having the same conversations over and over and over. This afterlife seems more subtly horrific than sweet to me, especially as the way they keep looping through the same conversations and not remembering things is unintentionally reminiscient of dementia. Or maybe that is intentional, who knows.

Maggie gets angry and smashes the dolls around, cracking the male doll’s head and knocking off the dog’s ear and detaching the woman doll’s leg. She fixes them later, but damaging inanimate but sentient things, especially if they feel pain as these dolls do, is a huge squick/creep-out for me and did not endear her to me.

I like a lot of stuff that’s dark in some way or another, whether it’s scary horror or just deals with dark topics, but this book just felt unpleasant and unenjoyable.

Spoilers!

Read more... )

Did any of you read this book? Did you like it better than I did? It’s widely beloved and won lots of awards, but appears to be currently out of print.

Behind the Attic Wall

Max, an eight-year-old boy, moves with his family to a new home in Yorkshire. There he discovers twelve old wooden soldiers who come to life when he unpacks them. They all have distinct personalities, plus a history and myths.

Max soon realizes that they are the twelve toy soldiers that the Bronte children played with and wrote about, and whom the soldiers call the Genii: their protectors and Gods. Max and, eventually, his sister Jane become the soldiers' new Genii. But due to the Bronte collection, the soldiers are sought after by collectors and historians...

My favorite thing, an old-school British children's fantasy, with all my favorite virtues of the genre: a strong sense of place, precise prose, vivid images, an unsentimental view of childhood, and small-scale and very magical-feeling magic.

This one captures the childhood feeling of a very small world with very small people in it; you indignantly protest to adults that you're not "playing" with your dolls or animals, because to you "play" means games and silliness, when what you're doing with them is inhabiting and playing out serious dramas in a very real world on a miniature scale. In The Twelve and the Genii, Max comes to realize for the first time that stories don't just exist, they are created: the Brontes created their stories, the soldiers created their own, and Max can create his. Moreover, making stories actually alters reality, whether by literally bringing things to life, making myths that didn't exist before, or making a new life or fame for a writer.

This feels like a classic, halfway between The Borrowers and The Mixed-Up Files of Mrs. Basil E. Frankweiler, and I’m not sure why it isn’t one. The Claw, I suppose. (I can't find the link, but it's the idea that why one thing takes off when other, similar ones don't is essentially like the claw in the arcade game that comes down and grabs one toy from a giant pile of similar toys.)

The Twelve and the Genii

BB is the pen-name of Denys Watkins-Pitchford (1905-1990), based, according to Goodreads, on the lead shot he used on geese. He wrote a whole bunch of nonfiction about the English countryside, which I am certain I would adore. Unfortunately, it's all out of print and expensive.

ETA 10 years later: Wheee, a lot of it is now back in print in ebook!

In The Little Grey Men, the last gnomes in Britain, three tiny brothers, decide to go looking for their missing brother Cloudberry, who sailed up the river two years ago and never returned.

This book ought to be on the same list of British countryside classics as Watership Down and The Wind In The Willows, which it somewhat resembles. (Down to a mystical drop-in by Pan.) It was a favorite of mine as a child, and it holds up when I read it as an adult. “BB” balances sweetness with the harsh realities both of nature and of encroaching civilization to create a book that is enchanting but unsentimental.

While there is enough adventure, danger, and charming tiny details like the gnomes’ name for rabbits (Bub’ms) or the delicious-sounding meals the gnomes create from smoked minnows, blackberries, and peppermint creams to delight the child that I was, I found myself now responding most to the sad and lovely evocation of the vanishing English countryside, and of time passing by. In 1942, according to the author, there were only four gnomes left in Britain; now, one supposes, there are none.

(When I posted this on Usenet's rasfw about a million years ago, Jo Walton replied on Usenet's rasfw with a great little monograph on the endangered gnomes of Britain, who did indeed survive into the present day.)

Little Grey Men



BB also wrote a sequel, Down the Bright Stream

Bizarre sequel to the lovely Little Grey Men.

Read more... )

This book reminded me of the hilarious scene in What Katy Did Next in which Katy got so bored with telling stories to Amy about a sickly-sweet pair of siblings that she told one in which they were crushed by an avalanche and not found until the snow melted in the spring.
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