I would be hesitant about buying books for children over

the age of five without first consulting them, or knowing them well. They have already developed certain literary tastes and few books can appeal universally. The books below are specialised except per- haps for The Wonderful Potion which is a collection of short stories.

Quintilian Meets Mr Punch written and illustrated by John Hatfield (Cape 21s). I don't know whether there is a Quintilian cult already (there have been two previous books), but I think there should be. or rather hope there is. This is a magical world grow- ing out of an old-fashioned toy museum. and although it is slightly a la Lewis Carroll, it is far gentler and easier to follow; (in consequence less funny and less alarm- ing).

Late evening lamplight shining on snow covered cobbles, and over there, noses pressed against the crown glass window panes of the Weather Shop, are Oliver (the museum curator's son) and his china dog Quintilian. They wander on into a strange and fantastic adventure following the elusive and mischievous Mr Punch. Apothe- caries, crocodiles, ginger-bread men, acro- bats, a milkmaid all forlorn, cordwainers, penguins and organ grinders, lull one into a completely acceptable world. The elegant illustrations are beautifully in keeping with the text, very delicate and touching. and casting the occasional creepy shadow. I think this book should be read aloud, as it is fairly difficult to get into. and a child left alone with it might easily give up.

The Furious Flycycle by Jan Wahl illus- trated by Fernando Krahn (Longman 18s). It is difficult to read this book unless you are electro - carbon - condensating - atmos- pheric - pro - cyclonic - compact - dynamic- magnetically minded. If you are (there must be a million little boys). then this book has everything you desire. Ice cream (the hero is the heir to the Spitznagle Ice Cream Fortune), mechanical invention (Melvin Spitznagle creates a flying bicycle to every- body's disbelief), and ultimate glory and acclaim to the inventor (an errand of mercy corroborates the power of his machine and makes him the toast of the town). The

illustrations are magnetically good, charm- ing, and funny.

The Fox That Wanted Nine Golden Tails, Mary Knight illustrated by Brigitte. Bryan (Hamish Hamilton 21s). I can't believe that an oriental fable, heavily loaded with hidden irony and universal truths will be appre- ciated by many children, although they might get by with the sprinkling of prin- cesses, dragons and wood spirits, or the semi-orientalised illustrations.

An intelligent Chinese fox knew that if he lived to be a thousand years old without ever being chased by a dog and also under- going a few reincarnations, then he would become the most -beautiful creature in the world, a fox with nine golden tails. When, after many imaginable trials and tribula- tions he finally acquires the desired status, he finds that the tails are so heavy he can barely move, and the reverence and acclaim that he was expecting from his forest friends is non-existent. 'Only men are ruled by man because they fear the power of gold.' Whatever the moral I still admire self-made millionaires and it will take more than this story to knock Howard Hughes off the pedestal I've made for him, but then 'even the wise make mistakes sometimes.'

The Ashwood Train by R. E. Jackson illustrated by Robert Geary (Chatto, Boyd and Oliver 16s). The dust-jacket of this book is misleading for the story is neither cosily corny as implied, nor about Irish leprechauns. But then if I tell you that it's about little creatures, fairies and mannikins emerging from a pine wood in Scotland, you may still be untempted. How about 'The old Scots word dool implies misfortune and it was firmly believed in the district that the curse was responsible for the family's [Blelacks of Seely Howe] down- fall'? That sort of stuff wins me over im- mediately, and besides, the whole book is spattered with pure Scottish dialogue which is irresistible to read aloud.

The Wonderful Potion and other Stories written and illustrated by Nicholas Brennan (Longman Young Books 12s). Alone, these stories would be rather lost in their 'clanky', 'mumphy', 'warty' mechanical atmosphere, but happily the illustrations save the day with a perfect example of how to get the best effects out of black and white. I have seldom seen such technical ability on such good quality paper and all at this very rare price.

The Reindeer Slippers Barbara Willard, Strangers up the Lane Irma Chilton (Hamish Hamilton Antelope Books 10s). (For children who can just read without help.) These books are slightly more adventurous than their younger sisters and brothers the Gazelles, but then they are an extra three shillings each. There is a certain smugness about The Reindeer Slippers, because nobody ever does anything wrong, and you can feel the goody-goody cloud hanging over the two boys who get lost in the snow, and follow the footsteps of a reindeer to the end of the book. Strangers up the Lane on the other hand has more suspense as the title suggests. Little Julie probes the mystery of the new inhabitants in the broken-down old cottage up the lane, and is terrified when she hears strange words, such as 'bella', whispered in equally strange tones. At least the exclamation is unpredictable; it's a harmless Italian ventriloquist exclaim- ing at the beauty of the view.

Pezzo the Pedlar and the Thirteen Silly Thieves story and pictures by Esphyr Slobodkina (Abelard-Schuman, 18s). I can't find much wrong with this book, and in consequence, the awful truth is, it is very difficult to review.

It is the perfect length for a four to six year old's bedtiine story and best of all the prose is simple enough for one not to have to make any adjustments, (so often, in other books, I find myself doing a rapid sentence reconstruction for the sake of clarity). Each sentence is sufficiently interesting to carry on the child's attention to the next with no pause for questions and no neces- sity to fiddle with dressing-gown cords. The story is easy to grasp with exactly the right degree of uncomplication, (no tiring ex- planations). A cap pedlar, who carries his wares on top of his head, has them lifted by thirteen thieves as he walks past the town jail, and evolves a method of getting them back. The illustrations are slightly after Laurent de Brunhoff, and allow the child to wander in and out of rooms and up and down streets. I think the secret of this book's success is that it was written completely and absolutely for children, without the slightest thought of a grown-up's criticism. A very rare thing.

The Velveteen Rabbit by Margery Wil- liams illustrated by Sir William Nicholson (Heinemann 25s). A relief to find one beauti- fully produced, old-fashioned book, with its tastefully discreet cover, hidden among a myriad of garish eyecatchers. First printed in 1922, it tells a gloriously soppy story of a velveteen rabbit in search of reality. 'What is real?' he asks his friend the skin horse. 'Real isn't how you are made,' he replies, 'it's a thing that happens to you. When a child loves you for a long long time, not to play with but really loves you, then you become real.' Amidst echoes of isolated nursery wings, long corridors and cosy nannies is the little boy who does grow to love the rabbit, who takes it to bed and hugs it, and though the relation- ship looks healthy enough, he contracts scarlet fever, is wrapped up in cashmere shawls and sent off to the 'seaside' (Weymouth or Hythe?) to recover. The germ-ridden, well fondled rabbit is out on its ear and the rubbish heap, but unlike the tin soldier, is visited by a fairy and transformed into a real rabbit. (Hans Andersen would never have allowed thatl)

'You were real to the boy because he loved you', says the fairy, 'now you are real to everyone.'

The regrettably few illustrations are strong unadulterated 1920.

Lisa Goes to Hospital by Alfons Weber illustrated by Jacqueline Blass (Blackie 18s). Alfons Weber, a doctor in Zurich, has written this book in an effort to persuade children that hospitals are very nice places. 'It all started with 'a stomach-ache' can't fail to arouse those clinical little minds to hoping for the worst. The illustrations make the hospital wards look like Princess Grace of Monaco's private nurseries (even a turquoise sea glimpsed through the win- dows), and I can't decide whether this is a good thing or not.

Jennifer and Josephine written and illus- trated by Bill Peet (Andre Deutsch 16s). Josephine (a cat) becomes a stowaway in Jennifer (a car) and on the latter's discovery of the former a staunch friendship is born. Together they ride through a few boring episodes such as haystacks and chicken runs with the view to raising a laugh. The illustrations could at a pinch be called 'comical', The Laughing Dragon by Mahood (Col- lins 21s). I have a weakness for nice kind 1 dragons and in consequence I love this story

1 of a Japanese Emperor's pet who has to be exiled to an uninhabited island because the flames he exudes when he laughs are en- dangering the Emperor and his entourage.

(As if you didn't know, he returns in a wave of glory to act as a personal central heat- ing plant to a snow-stricken Japan.) I can't

say I love the lavishly expensive illustrations (though I respect Kenneth Mahood as a cartoonist)—I find them too contrively un- tidy, and 'in good taste' and 'just the present for that progressive RCA teacher's child.'

Mafie and the Persian Pink Petunias by Aileen Olsen illustrated by Lilian Obligado

(Abelard-Schuman 18s). You'd think that a small black Caribbean island boy would hustle his way into something more ex- citing than a goody-goody story about a naughty-naughty hen who tramples down some prize petunias, but he doesn't. The messy illustrations are so dazzlingly petunia coloured that they should only be viewed from a distance in a dark room.

Anatole and the Thirty Thieves by Eve Titus illustrated by Paul Galdone (Bodley

Head 15s). This is the seventh adventure of a French mouse. Wow! He must be pop- ular. Having not read the other six I do not have the advantage of loving him already nor of appreciating his latest kiddy Simenon style detection work on thirty cheese thieves amidst a whole load of red, white and blue propaganda. Strictly for Anatolians and French patriots.

Old Macdonald Wad some Flats written by Judith Barrett illustrated by Ron Barrett

(Longman Young Books 18s). The produc- tion of an American husband and wife team, he an art director, she with a master's degree in Early Childhood Education, should after all be a clever hit. My children were not remotely interested in the story of a caretaker of a block of flats who drives out his tenants by growing carrots in bed- rooms and harbouring cows in bathrooms until he has a complete farm in the middle

of the city. I, however, was mildly seduced by a double page illustration of the block of flats overflowing with animals and veget- ables, predominantly black and white with small patches of colour, as though painted in later with a box of watercolours.

The Thin Boy and the Fat Balloon by Patricia E. Barnard illustrated by Jessica

Gatty (sold in aid of the Sue Ryder Homes).

A foreword by Anna Neagle might be the incentive to buy this book, but then she does happen to be one of my special fav- ourites. The story is reminiscent of the boy with the red umbrella Struwwelpeter, who, due to his matchstick skinniness gets lifted away into the clouds, this time by a balloon. e reaches the kingdom of King Barrage Balloon who rockets him back to earth here he lives happily and fatly ever after. he drawings are a bit skimpy but the whole

feet is charming. - Mirs Z. The Dark Young Lady by Angela arter illustrated by Eros Keith (Heine- ann 21s). The dangerous mission of Miss

(Indian I presume), a unicorn and a hair-

ess creature named Odd, leads through the ogle to a rich fantasy world of tapestry fivers, upsidedown palaces 'and green lions. he illustrations are nicely maniere my ear, (sort of 1912 brought up to 1970) but ave a faded elegance about them. Johnny Golightly and his Crocodile by rsula Moray Williams illustrated by Faith agues (Chatto, Boyd and Oliver 18s). 'Wren will always like stories about croc- edires and the fact that Johnny Golightly's landlady is swallowed by and lives happily inside one, is bound (like the landlady) to go down all right. (She emerges unscathed.) Though boringly and lengthily told, pro4 fessional skippers will have no difficulty in relating the story in their own words with the aid of the fairly amusing illustrations.

A Bad Child's Book of Moral Verse, written and illustrated by Charlotte Hough (Faber 21s). Anything after Belloc must be a slight bathos but some of the creatures round whom these verses are written are quite endearing. The hopeless guinea pig and the crocodile whose moral is 'Looks which cause you some alarm, may hide a nature full of charm'. On the other hand 'Be sen- sible and if you try, you may become a butterfly', does not grab me, nor the flashy splashy illustrations veering towards trendy wallpaper.

A Letter Goes to Sea by Lore Leher illustrated by Hetty Krist-Schulz (Chatto, Boyd and Oliver 14s). This is a happy little geography lesson instigated by a happy little Danish boy who launches a bottle into the sea containing the message 'Who will be my friend?' By some extraordinary chance there are five happy little boys standing on the re- spective shores of Africa, Ceylon, China, Mexico and Greenland, all offering their friendship, and by another extraordinary chance the bottle returns to the very happy little Danish boy. Exceptionally unattractive illustrations.

Hansel and Crete! the Brothers Grimm illustrated by Celine Leopold (Bodley Head 18s). A never-failing tale, illustrated chaotic- ally by an abstract expressionist painter who might do better by sticking to designing posters for UNICEF.

Cinderella Charles Perrault illustrated by Shirley Hughes (Bodley Head 18s). Cosily told, and very cosily illustrated by every- body's favourite Shirley Hughes. There are enough pages of ball dresses to satisfy a lot of little girls.

Rumplestiltskin the Brothers Grimm illustrated by William Stobbs (Bodley Head 18s). Earlier editions of this story apparently have a reputation for frightening children because of their grotesque illustrations. Here is a tamed edition of which the Brothers would take a very Grimm view.

The Steadfast Tin Soldier by Hans Chris- tian Andersen illustrated by Monika Laim- gruber (Hamish Hamilton 25s). I have never thought that Hans Christian Andersen was for children. (One of my great indulgences at present is to have his stories read to me aloud.), Perhaps your children are sophisti- cated, or perhaps, more plausibly, I am a child. In either case, or any case Hans Christian Andersen is the one writer who does not need these very pretty, delicately printed illustrations to dilute the strong im- ages he conveys with his words.

The Treasure Stump Janet Duchesse, The Picnic Dog Christobel Mattingley, Fish and Chips Pamela Rogers (Hamish Hamilton Gazelle books 7s). The price of these books is about all that can be said in their favour, although the quality of the paper suffers as a result. Three tidy little stories of impos- sibly golden characters involving themselves in hopelessly mundane episodes such as find.. ing sweets in a tree stump, extracting amuse- ment from a miniature fox terrier's pranks during a picnic, and enjoying a day spent in a fish and chip shop. Tattily illustrated only the martyr parent could get through them. I have a sneaking suspicion that a lot of children would enjoy them, even so.

Candida Lycett-Green