We Couldn’t Leave Dinah

Another wartime story, this one with ponies: We Couldn’t Leave Dinah. Needs more gymkhanas.

Caveat: I read this fairly recently, but couldn’t find my copy this week to refresh myself, so this might suffer slightly from the vagaries of my memory. Also (ironically), this post is even more spoilery than usual, so don’t read if this will bother you.

1941 saw the Carnegie Medal continue its focus on war with Mary Treadgold’s We Couldn’t Leave Dinah, a pony story cum wartime adventure set on the Channel Islands. Caroline, Mick and Thomas Templeton – English residents of fictional island Clerinel, and all members of their local Pony Club – are faced with evacuation to the UK as fears of a German occupation of the island grow. The Germans invade the same night as the evacuation, and in the chaos Caroline and Mick manage to get themselves left behind, and end up concealing themselves and their ponies in a cave originally meant as the new headquarters for the Pony Club. With the help of their French friend Peter, they manage to organise a way off the island for themselves, though not before Mick is forced to teach the daughter of the German general occupying their home how to ride (he masquerades as their French servant). In the process, he uncovers some information which can be used against the Germans. They depart the island in possession of this information, but leaving behind their pony Dinah, who they conclude will be safe with the Gernam child Nannerl until they can return for her.

Mary Treadgold was inspired to write the story after reading many terrible pony books  while working as editor of Heinemann, and this is generally referred to as a pony book. I was quite excited about this, because I had my prescribed horsey phase as a small girl and can still get excited about winning the gymkhana with the pony tricked out in lovingly restored tack found in the old stables. As the summary above demonstrates, however, there’s quite a lot more going on in this book and I found it rather lacking in pony detail. Even though the children are obsessed with the Pony Club, it felt more like a plot device than a central focus. I liked the book less as a result, although this says more about me than about the virtues of the plot. The drama of the plot focuses around the danger that the children will get caught and their accidental involvement in an English spy ring operating on the island, and while I’m willing to accept this in theory, in practice I’m more excited about who wins the gymkhana.

The most interesting part of the novel (to me, anyway) is the way that it explores changing identities and allegiances in the context of war. The book begins with a fancy dress party organised for the Pony Club by the new President of the Pony Club, Peter, who is one of the French residents of the island. The party provides an excuse for a group of Germans to land in disguse and take over key strategic points on the island, thus facilitating the invasion. This sets up a running tension through the book: Caroline sees the Germans and later puts two and two together, and so the children are faced with the prospect that Peter’s father – and possibly Peter himself – are in fact German collaborators. At the end of the book, it’s revealed that Peter’s father did collaborate with the Germans, but only because they have family in Germany who are being held hostage against his cooperation. The genuine sympathy with which Treadgold portrays this character is important given that she was writing shortly after the establishment of the Vichy government in France: it’s made clear that this has been an agonising decision. The introduction of the German child, Nannerl, is also key: although they imagine she will be a horrible Nazi, she turns out to be a small, rather comical figure who shares their love of horses and desperately wants to learn to ride.  They find her desperately annoying and inconvenient, but in the same way as they are annoyed by their younger brother, and during the course of the book they win her over. At the end of the novel, they are not only sure that Nannerl will take good care of Dinah, they make her an honorary member of the Pony Club and look forward to the possibility that they might meet again as fellow members of the Club in happier times. There’s something rather wonderful about the fact that the wartime committee chose a book with such a clear message about the potential for unity across nationalities, and with such a sympathy for those caught between what was moral and what was safe.

Despite these good qualities, Treadgold’s portrayal of the actual non-English characters is rather clunky, and there is just a shadow of a sense that whatever the good qualities of other nations there’s something special about being English. There’s also a bit of a gendered quality to the characterisation: once the two children are living in the cave Caroline is largely quite anxious, while Mick gets drawn into the discovery of a possible spy ring and becomes much more brave and adventurous. There are some nice bits of characterisation in this section (when my copy eventually reappears I’ll come back and add a quote), but this story does feel more gendered than any of the previous winners.

Plotwise – lack of gymkhanas aside – this does clip along well and there’s a reasonable level of realism. Based on the title, I had always imagined this was a story in which the children actually refused to be evacuated, but in fact although they’re sad about leaving their pony, it’s pure accident that they don’t make it onto the boat and they’re pretty panicked about it. And despite my quibbles about the gendered nature of it, I like the fact that hiding out in a cave is not portrayed as all a jolly good adventure – it’s all a bit nervewracking and uncomfortable.

This is the second winner I’ve come to which is out-of-print, but it survived much longer than Visitors From London: the last edition in WorldCat is 1982, two decades later than the last edition of Kitty Barne’s book. I find this surprising in terms of quality: this isn’t a bad book, but it’s nowhere near as vivid or interesting as  Visitors from London. I suspect that the pony story aspect helped a lot here, since it lends itself to marketing – I’ve noticed that other stories with a pony element tend to have that played up on the jacket, however slight the focus on ponies within.

1941 was slim pickings for children’s publishing, which probably helped Treadgold: Ransome’s Missee Lee came out this year, but was ineligible since at this time authors couldn’t win more than once (not sorry about this, Missee Lee is the most problematic of Ransome’s books by a long chalk), and P.L. Travers also published an evacuation story, I Go By Sea, I Go By Land. I haven’t read the latter, so I’m not sure how We Couldn’t Leave Dinah holds up in comparison (cue yet another book purchase, whoops). I’m not convinced it is really an outstanding book, but on the whole I’d rather have this one celebrated than no award at all. Marcus Crouch, though, suggests that the award was premature in terms of Treadgold’s writing career – I enjoyed this one enough for that to pique my interest in her other works.


Some unscientific ratings and notes…

My overall rating: 6/10

Plot: 6/10

Characterisation: 5/10

Themes: War, evacuation,  ponies, nationhood, adventure, spies

Publisher: Jonathan Cape

Illustrator: Stuart Tresilian (but my paperback edition had none of the illustrations, so I can’t comment on these)

Author’s nationality/race: (A new category, I realised the other day I’d like to keep track of this, and also not note race only when the author was non-white. Not that this is likely to be an issue for a while.) White English







The Radium Woman

As war looms, the Carnegie Medal honours feminism and science with The Radium Woman.

The Carnegie winner for 1939 can lay claim to a number of firsts. It was the first non-fiction winner and the first by an author born outside of the United Kingdom (Eleanor Dooley was born in Jamaica, although she moved to England at the age of 7). According to Keith Barker, it was also the first (and probably the only) winner to be made over the heads of the award committee: he says that they had not wanted to make any award that year, but were overruled.I’m hoping to find out more about this in due course, but haven’t had a chance to dig into it yet.

The book is a biography of Marie Curie, adapted from the biography for adults written by Marie’s daughter Ève Curie. I confess that this is one book I wasn’t too enthusiastic about reading: I’m not a great reader of biographies, and the jacket of my Puffin edition is even more boring than the first edition jacket which graces this post. The idea that it was a forced choice for the Medal also made me rather wary. As it turned out, though, I found it fascinating. I know very little about Marie Curie, so almost everything in the book was new information for me, and she’s a pretty amazing character (as one might suspect from the fact she was the first woman to win a Nobel prize). Doorly also opens the book in a way totally calculated to win my sympathies:

Why not? Why not? Why not? Why shouldn’t Manya be allowed to read? She didn’t ask the question. She would not think of asking her gentle, beautiful mother why not; she only puzzled her own little stubborn head where a pair of bright, grey-blue eyes looked penetratingly out from under a shock of yellow hair.

Give me a female character who loves to read and isn’t allowed and you’ve already halfway won my heart. Refreshingly, it turns out that there’s not any oppressive reason for her not being allowed to read; it’s that she’s so precocious (having learnt to read before her older sister) that her parents are worried about hot-housing her. In fact, one of the themes that runs through this book is the idea of family as totally supportive: we see Manya/Marie’s family all working together to look after one another, and later when she marries Pierre there’s very much the sense of them working together to support one another and their family. The book isn’t explicit about it, but I got the strong sense that this foundation of mutual support was key in allowing Marie to achieve the things she did.

Hard work is a theme which has been present in the other Carnegie winners so far, and it’s certainly a major theme of this book. We see Marie first working hard as a governess to earn money to support her sister in Paris, then in Paris herself working feverishly to gain as much education as possible. She is clearly someone who loves her work, to the extent that she organises her entire life around freeing up as much time for her scientific work as possible (for example, she has almost no furniture so there’s less stuff to clean) and frequently forgets to eat. One thing I really liked about this book is that all of these details are presented exactly the way they would be in a book about a man; that is, they’re just reported as facts which illustrate something about her intellectual commitment to her work, without being an implicit commentary on her status as a woman or mother. The book does take it for granted that when she married and had children, she was the one who would have to be responsible for running the household, but this is just treated as another obstacle to her getting on with her work. It’s also made very clear that she loves her children, but that her work comes first, and there’s no implication this compromises her love for her children. From a feminist perspectve, this is all very refreshing. I wonder how much this reflects the times? It strikes me that the idea that you must be terribly conflicted about combining motherhood and a passion for a career might be more acute now than it was in 1939.

Another major preoccupation of the book is Marie’s Polishness. Dooley emphasises her struggles in the context of Russian controlled Poland, her early work supporting Polish nationalism (for example, she teaches village children to read when working as a governess, despite knowing that this could result in her being sent to Siberia), and her lifelong affection for her country. There’s also quite a lot of emphasis on her love for the countryside; her one year of freedom and play in between school and starting to work really hard for a living is spent in the country enjoying traditional countryside hijinks. It’s easy to see from these themes why this was a book which might have appealed to the Library Association on the eve of war.

Is this as good a book as the others on the winning list so far? It’s a little hard to judge given that it’s non-fiction, although it’s written in a fairly novelistic style. It does have a certain tone to it, especially once it gets to Marie’s adult life, which is a little old-fasioned, though rather difficult to describe. And I think a novellist might have made more of some of the more heart-rending aspects of Marie’s life, notably the deaths of her mother and her husband. But the book is definitely compelling, and holds up well for a modern reader. I’m not sure whether children today would enjoy it, but I can imagine it having a MASSIVE impact on a reader (especially a female reader) in 1939. I definitely think the Library Association were right to give this book an award rather than have no award at all, and I’m glad to have read it. In fact, the more I write about it the more awesome I think it is. If I had a daughter I would give her this to read.

Special bonus passage to finish: a reminder that Twitter did not invent trolls. This takes place after Marie wins her second Nobel prize and after her husband has died tragically young:

One would have thought that all the world would have gloried in her as a scientist and treated her gently as a sad woman. But, unfortunately, there is a strange disease which causes certain people to feel very cruel when they hear of someone being very successful or very beautiful. Marie was both, and suddenly people began to write her anonymous letters and to tell extraordinary lies about her and accuse her of doing wrong things of which she had never dreamed.

HATERS TO THE LEFT. Marie Curie has TWO NOBEL PRIZES and two beautiful daughters one of whom went on to write a biography about how awesome she was.

Some unscientific ratings and notes…

My overall rating: 7/10

Plot: 10/10 for awesome things done by Marie Curie; 7/10 for the way they are arranged within the book

Characterisation: 5/10

Themes: Work, science, biography, feminism

Publisher: Heinemann

Illustrator: Robert Gibbings