Reading was an enormous part of my childhood. My parents correctly predicted my future would be about books and writing.
First blood was the wondrous work of Enid Blyton in The Mystery of the Burnt Cottage. I immediately squirreled away pocket money to buy the rest of the series (all the while wondering why such a great crime-solving unit would name itself “The Five Find-Outers and Dog”), then graduated to the Famous Five. Blyton could write a ripping yarn, complete with lashings of teacake and ginger beer.
Almost every child I knew read The Enchanted Wood trilogy with utter joy. My children loved this series too; the Faraway Tree may well delight a future generation. I must say I had no time for Silky (the token submissive female) or The Saucepan Man (why?) but longed for Blyton to explore the psyche of Dame Washalot (one serious case of OCD) and the Angry Pixie. We were never told why the Pixie was in such a state: was it psychosis, I wondered, or just haemorrhoids?
I enjoyed Blyton’s three school series (The Naughtiest Girl, St. Clair’s and Mallory Towers) despite the repeated themes. Each featured wild lacrosse games, colicky horses and batty French teachers. I found further succour in the gripping Adventure series, but sorry, Enid - the Secret Seven never did it for me.
American authors also brought much joy into my life, notably Betty Smith's beautiful coming-of-age tale A Tree Grows in Brooklyn, Madeleine L’Engle (A Wrinkle In Time), Elizabeth Enright (The Four Storey Mistake), Norton Juster (The Phantom Tollbooth) and the Trixie Belden series.
So wash my mouth out, but Australian authors held slightly less appeal, excepting two stand-out tales: Alan Marshall’s moving I Can Jump Puddles (to this day, just hearing the title makes me emotional) and Colin Thiele’s February Dragon - quintessential Australian fiction that I read as quickly as the bushfire ripped through the chapters.