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Flytrap
Nancy wants so much to be the centre of attention at school that she makes up a story - a wish really. She tells the teacher that she has a Venus Flytrap at home. But when the teacher asks her to bring the plant in to show the class, Nancy is stuck! What's she going to do? At home Nancy starts making up stories to explain away the first one. Maybe the flytrap ate so many flies that it got sick and died? She pesters her white Mum and her Aboriginal Dad to try and help. Together they find a story that Nancy can call her own. What will Nancy tell her class in the morning? Flytrap is a playful and inspiring book about what stories can do.
64 pages, Paperback
Published November 1, 2002
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January 9, 2012Here is another fabulous story told by two of Australia’s finest storytellers. flytrap (sic) is the story of Nancy who loves her teacher so much, and wants to be noticed by this teacher so much that she tells a lie … only a little lie … a white lie really … in fact more of a silent wish that just pops out of her mouth and then can’t be taken back … yes, when put like that it’s not really a lie at all. But what is she to do? She’s told Miss Susan that she will bring in her Venus Flytrap to show everyone in her class – but she doesn’t have one.
I imagine nearly every reader of this book (child and adult alike) will relate to that sinking feeling of getting yourself into a difficult situation. Luckily Nancy has two sources of help – the first is a supportive mother who listens but does not solve the problem for Nancy – the second is her stepfather, who belongs to a culture that values storytelling. For me, the brilliance of this book lies in the way McDonald and Pryor weave an indigenous element into their story. The first hint of an indigenous theme doesn’t come until 17 pages into the book, and when it does come it is so natural … ‘Gee is Nancy’s Step-dad …He’s really good at spotting things on the side of roads. ‘Road kills,’ he calls them.’ Poor little fullas,’ he says. ‘It’s a waste to leave them lying there.’ Nancy realises that her stepfather’s fascination with road kills may be one way to save face with Miss Susan. So begins a journey into understanding not only Gee’s culture, but understanding the parallels between indigenous and non-indigenous Australia. This is one of the most sophisticated stories with an indigenous theme ever told in this country for this age group (Prep to Year 3).
I suspect flytrap will be a very strong contender for 2003’s CBCA Book of the Year Awards for Younger Readers, as it has all the elements the judges look for; richly drawn characters, a well paced plot that calls the reader into the book, a high literary and design standard, a satisfying conclusion and layers of themes that emerge naturally from the story. I would even go so far as to say this is a perfect book. McDonald and Pryor tell the story in a mixture of tenses. The present tense brings an immediacy to the reader and builds Nancy’s anxiety for the reader, ‘Nancy is worried. She walks out of the school yard holding her mother’s hand tight …Nancy’s worried. They drive home …Nancy’s worried. Her mum …slices an apple …Nancy eats her afternoon tea alone. Worried.’ The past tense slows the pace, reassuring the reader that a solution to Nancy’s problem can be found. Along the way stories from indigenous and non-indigenous cultures are intermingled in a way that only master storytellers can. The story is also told through McDonald and Pryor’s photos, Lillian Fourmile’s traditional paintings, Harry Todd’s drawings and Ruth Grüner’s superb design which brings all the elements together.
It is extremely difficult to write books of this length, without rushing the story and I applaud McDonald, Pryor, and their editors for not padding it out – it is a seamless tale as a result. My only gripe about this book, and it’s an economic one rather than a literary one, is that for $13.95 I wish Allen and Unwin had held back until there was another story to go with it. Highly recommended
I imagine nearly every reader of this book (child and adult alike) will relate to that sinking feeling of getting yourself into a difficult situation. Luckily Nancy has two sources of help – the first is a supportive mother who listens but does not solve the problem for Nancy – the second is her stepfather, who belongs to a culture that values storytelling. For me, the brilliance of this book lies in the way McDonald and Pryor weave an indigenous element into their story. The first hint of an indigenous theme doesn’t come until 17 pages into the book, and when it does come it is so natural … ‘Gee is Nancy’s Step-dad …He’s really good at spotting things on the side of roads. ‘Road kills,’ he calls them.’ Poor little fullas,’ he says. ‘It’s a waste to leave them lying there.’ Nancy realises that her stepfather’s fascination with road kills may be one way to save face with Miss Susan. So begins a journey into understanding not only Gee’s culture, but understanding the parallels between indigenous and non-indigenous Australia. This is one of the most sophisticated stories with an indigenous theme ever told in this country for this age group (Prep to Year 3).
I suspect flytrap will be a very strong contender for 2003’s CBCA Book of the Year Awards for Younger Readers, as it has all the elements the judges look for; richly drawn characters, a well paced plot that calls the reader into the book, a high literary and design standard, a satisfying conclusion and layers of themes that emerge naturally from the story. I would even go so far as to say this is a perfect book. McDonald and Pryor tell the story in a mixture of tenses. The present tense brings an immediacy to the reader and builds Nancy’s anxiety for the reader, ‘Nancy is worried. She walks out of the school yard holding her mother’s hand tight …Nancy’s worried. They drive home …Nancy’s worried. Her mum …slices an apple …Nancy eats her afternoon tea alone. Worried.’ The past tense slows the pace, reassuring the reader that a solution to Nancy’s problem can be found. Along the way stories from indigenous and non-indigenous cultures are intermingled in a way that only master storytellers can. The story is also told through McDonald and Pryor’s photos, Lillian Fourmile’s traditional paintings, Harry Todd’s drawings and Ruth Grüner’s superb design which brings all the elements together.
It is extremely difficult to write books of this length, without rushing the story and I applaud McDonald, Pryor, and their editors for not padding it out – it is a seamless tale as a result. My only gripe about this book, and it’s an economic one rather than a literary one, is that for $13.95 I wish Allen and Unwin had held back until there was another story to go with it. Highly recommended
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