These children/adolescents have clearly heard the opening six-line rhyme recited by their mother many times but instead of listening to the words and recognising they are warning or a prophecy, the words have become a little like a jingle that they sing along to in their car. Only the young girl knows there are warnings in these words.
This is a story of enchantment, entrapment, courage, wisdom, patience, belief, temptation and above all love. The young girl will rescue her brothers no matter what the personal cost rather like the girl in the Wild Swans fairy tale. Water is an important underlying theme here too. The landscape is a desert but there is water in this mysterious place. The boys are eager to jump in cool water of the pool. Then we don’t see the boys again once the Teller issues his challenge. For three days the girl does not drink. Her body language shows her determination to succeed against The Teller. But I felt such shock when her act of compassion towards the flowers, when she gives them a drink, has unexpected and dire consequences.
The sepia hyper realistic art with touches of blue and pink are reminiscent of art by Chris van Allsburg, Shaun Tan and Steven Woolman (The Watertower).
This story has biblical overtones, it feels like a parable, and it has references to fairy tales such as Beauty and the Beast. Notice the repeated pattern of three – three days, three broken columns, three banquet scene, three brothers and three dolphins. The setting and time period are open-ended although we do recognise this is an older model car and the cinder blocks on the house also hint at a time from the recent past.
Right from the beginning the young girl, in her pale blue dress, shows she has a higher level of responsibility. Think about how she stops to lock the door to their house.
Take a close look at the cover: golden fruit (Adam and Eve perhaps); the shadow of the girl is cut in half; the young girl wears blue dress does this signify innocence? I thought of the phrase - "the little child shall lead them”. There is a chalice in the corner of the cover. I associate this with the ceremony in a church where wine is shared during communion to represent the blood of Christ. The girl looks sad, and her gaze is directed toward the towering lion. He also looks sad or even perhaps resigned.
Looking at the dust jacket the image stretches out and the face of the lion looks strangely like the face of a man in profile. The three pages where we see the banquet table are very interesting. On the first we have domestic animals eating human food. The next day, enormous exotic animals arrive. On the third day, though, the food is all gone, and the crows have arrived – do they symbolise death? Is the lion an echo of Aslan? Is this about free will? The dry remote forbidding landscape in this book is also a character. There are so many interesting shadows and sharp angles in the illustrations.
Readers will have so many questions and they will be eager to revisit the story and illustrations. Have the children visited their mother before; where and what is this hospital; and did the meeting with The Teller and his dreadful bargain also happen to their mother in the past? So, the ending is bittersweet as the girl both succeeds and fails.
If you are sharing this book with a group of High School students you could consider exploring these possible references - a painting of the Last Supper; fairy tales such as Beauty & the Beast, Hansel and Gretel and The Wild Swans. You might thing about Orpheus in the Underworld and classic literature such as Aslan from the Narnia books. Thinking about pop culture you could relate this story to music or television such as 'Don't pay the Ferryman', 'Hotel California', 'Breaking Bad' (the desert setting), 'Game of Thrones' (Ziggurat type building).
Every part of this book design has been created with care. There is a different image under the dust jacket. The end papers are the same blue as the girl's dress.
Paradise Sands is a CBCA (Children's Book Council of Australia) Honour Book. Here is the report from the judges (I was one for this round):
Right from the beginning, the young girl, in her pale blue dress, shows she has a higher level of responsibility. The characters have clearly heard the opening six-line rhyme many times, but instead of recognising they are a warning, the words have become a jingle they sing along to in their car. This is a story of enchantment, entrapment, courage, wisdom, patience, belief, temptation and, above all, love. The young girl will rescue her brothers no matter what the personal cost. An almost unbearable sense of bleakness is created through the dry barren landscapes and even the starkness of the house and hospital room. The landscape in this book becomes a character. Older readers will be eager to revisit the story and the exquisite, masterful illustrations. This book has the look and feel of a classic.
In her post on her blog Paperbark Words Joy Lawn gives some excellent suggestions for ways to explore this book with your older students. I would say this book is for mature readers aged 11 and that it should be added to every High School library. Read this interview where Levi Pinfold talks with Kirkus. See some of the art from this book and here are some review comments:
This book has been added to the NCACL database of Picture Books for Older Readers. I highly recommend you explore this resource.
Companion books:
