Fantasy: Serafina and the Black Cloak

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Evaluation of the book:
Robert Beatty, author of Serafina and the Black Cloak, experiments with different uses of language in this book. For example, Beatty attempts to use understatement to hint at Serafina’s cat-like tendencies. Words like “scurrying” (p.49) and “scampered” (p. 67) that Beatty uses to describe Serafina’s movements are not natural for humans; the reader picks up pretty quickly on the fact that Serafina isn’t a normal human. By the time the revelation of her catamount origins happens at the end of the book, the reader has (most likely) already guessed at the truth. The understatement and little hints throughout keep the reader engaged and guessing until the very end.

Unfortunately, Beatty’s forays into experimental language have a more generally awkward outcome. He tries to express the different personalities of his characters through their dialogue, but what results is his characters being so different that they don’t seem to belong in the same house. Serafina’s pa’s harsh brogue is hard to read and makes him difficult to relate to. Serafina’s dialogue changes depending on who she’s talking to; with her pa she’s rough and brogue-ish but with young master Braedan she talks perfectly normally. These inconsistencies and oversights in dialogue make the language of the novel a little discombobulating.

Finally, the vocabulary of the novel itself is inconsistent. Beatty uses words like “apocalyptic” (p. 139) when Serafina is describing a scene internally, but later in the novel Serafina doesn’t understand the word “asunder” (p. 273). The intended audience of this novel are children around the same age as Serafina. If she doesn’t understand the vocabulary used, how are they supposed to understand?

Response:
I personally was not a huge fan of this novel. I tried to imagine myself as a child reading it and, from that perspective, I can see how the thrill of the mystery of the black cloak would be enough to keep me reading. However, the inconsistencies in language, shallowness of characters, and somewhat random fantastic folklore would have frustrated me even as a young reader. A book should go beyond a thrill; there should be just a little more substance than in this one.

Conclusion:
While I don’t think Serafina and the Black Cloak is at a level of being potentially dangerous for early childhood literacy development, I also don’t see it as being a particularly useful novel when trying to help children on their reading journey. That being said, reading is important, no matter the source. If a child is attracted to the story of cat-like Serafina saving the day, by all means, let them read!

APA Style Reference:
Beatty, R. (2015). Serafina and the black cloak. New York, NY: Disney-Hyperion.

Fantasy: The Lion, the Witch, and the Wardrobe

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Evaluation of the book:
The Lion, the Witch, and the Wardrobe is the famous story of siblings Peter, Susan, Edmund, and Lucy who discover the land of Narnia in the back of a wardrobe. The book is written in simple, clear prose that clearly points to children as its intended readers. The simplicity and elegance of the prose compliment the exciting and adventurous story, letting young readers enjoy the experience of reading this book without being bogged down by overly complicated writing.

In addition to the simple prose, the book is filled with little, simple illustrations. These small, black and white sketches of creatures in Narnia remind the reader that the beings described in the book are not human - they’re beavers, fauns, lions, etc. The book contains a lot of dialogue; it’s easy to forget who’s - or what’s - talking. The illustrations are a little reminder to the reader that they have entered a fantastical world, Narnia.

The Lion, the Witch, and the Wardrobe contains many exemplary, virtuous characters (Mr. Tumnus, Aslan, the Beavers, Lucy, etc.) for young readers to imitate. The distinction between good and evil is clearly drawn; the witches, wolves, and ogres are the bad guys while the humans, lions, and beavers are the good guys. That being said, the book is not overly didactic in tone, it simply illustrates good vs. evil in a way that children can observe and learn from, if they choose.

Response:
As a Christian, I see (and agree with/believe in!) all the parallels C.S. Lewis draws to salvation history in this book. Aslan as a Christ figure coming to save the world from the White Witch (sin), Lucy and Susan (the women on the road to calvary) accompanying Aslan to his death, etc. The Christian overtones are hardly veiled (sacrificial death of the main character is a bit too dramatic to hide completely), but the book can also be enjoyed by non-Christians because of its engaging, fast-paced plot and its virtuous characters. Well-written and fun, even if simple, the Chronicles of Narnia is an excellent, wholesome series of books. I loved the stories as a kid; I enjoyed revisiting as an adult.

Conclusion:
Even though this book is written in simple prose and contains simple illustrations, its story is far from a simple one, nor does it attract a simple audience. Children are drawn to exciting stories like those of Narnia; C. S. Lewis does a good job hiding a few lessons in virtue in his pages so that the book might contain more than a simple story. I’d recommend this book to any child, but especially those who might be more hesitant readers. I bet a story with talking beavers, an evil witch, and heroic children could draw in even the most solid anti-reader - and the simplicity of the prose won’t scare anyone away!

APA Style Reference:

Lewis, C. S. (1994). The lion, the witch, and the wardrobe. New York, NY: HarperTrophy.