When Hitler Stole Pink Rabbit

031220

 

When Hitler Stole Pink Rabbit by Judith Kerr

1971

Illustrated by Judith Kerr

A rabbit features in the title of two exceptional books that chronicle the Jewish diaspora occasioned by Hitler’s anti-semitism. In one, the rabbit is a scruffy stuffed animal left behind by a nine year old girl when her family flees Berlin. Anna’s parents are comfortably well-off members of the assimilated German intelligentsia. They celebrate Christmas and Anna’s best friend is unaware that she is Jewish. But her distinguished father has been targeted because of his anti-Nazi writings and on the eve of Hitler’s election in 1933, the family escapes to Switzerland, leaving all their worldly goods behind. They settle in a village on Lake Zurich, then spend two years in Paris, before making their final move to London. As Anna adjusts to displacement, the rabbit becomes the symbol of all that has been taken away – language, culture, friends, home, sense of belonging.

38679936_303

When Hitler Stole Pink Rabbit is autobiographical. Judith Kerr uses a light and knowing touch as she describes the world through the eyes of a young refugee. Anna rises to the challenge of a French school and an impecunious existence and finds pleasure in a new coat sewn from a wool remnant donated for needy children or the novelty of French onion soup at dawn during 14th July celebrations. French anti-semitism finds voice through the concierge who fears she will be cheated out of the rent money and the atrocities in Germany are alluded to through the fate of the dear and gentle Onkel Julius, ex-curator of the Berlin Natural History Museum, who commits suicide when his pass to the Berlin Zoo is rescinded. But the focus of this book is not on the horrors of the Holocaust but the experiences of a young girl who is uprooted from her country. It is a story of resilience that is particularly timely given the scope of displacement in the 21st century.

Judith-Kerr-new-e1558626168622-640x360

The Hare With Amber Eyes has a broader historical sweep. Edmund de Waal traces the journey of a collection of delicate Japanese netsuke through five generations of the Ephrussi family – from Paris to Vienna, England, Japan, London. When the family palace in Vienna was requisitioned by the Nazis in 1938, the family members scattered. Their vast wealth, art collection, priceless library disappeared, but the netsuke were safeguarded by a family retainer known only as Anna, hidden until 1945 in her straw mattress. The hare with amber eyes survived the war, a symbol of artistic beauty and enlightenment quietly triumphing over demagoguery and prejudice.

7821828._UY475_SS475_

Little Women

51CyX11R9yL

Little Women by Louisa May Alcott

1868

Illustrated by Jessie Willcox Smith

For a book the author dismissed as “moral pap for the young”, Little Women has had an enduring hold. A slew of writers (Margaret Atwood, Simone de Beauvoir, J.K. Rowling, Susan Sontag, Jhumpa Lahiri, among them) claim this book as inspirational to their careers. The book is over 150 years old – it continues to attract new adherents.

In this one brilliant novel, Louisa May Alcott gave full rein to the contradictions that defined her. Born into a talented literate family, her father was a visionary transcendentalist philosopher (Emerson and Thoreau were family friends), an idealist whose “experiments” rarely put adequate food on the table. Her mother was “ballast to his balloon”, the pragmatic matriarch who sustained her daughters’ earthly needs. The father co-founded Fruitlands, a doomed utopian commune about which Louisa later wrote Transcendental Wild Oats, a satirical and very funny commentary – the diet was vegan, the shoes canvas, the showers cold, and the men urgently engaged in philosophical discussion in advance of any storm, leaving the mother and children to hastily harvest the meager crops (no root vegetables because they reached down rather than up towards the heavens). Louisa grew up in genteel destitution and was determined to avoid this fate as an adult. She wrote Little Women, a family story for girls, reluctantly, for money, and she channeled all of her own rebelliousness into Jo, her autobiographical double.

little women illustrations

 

Little Women is a family story in which not much happens, except for the transformation of four girls into young women. Meg, Jo, Amy, Beth – each has a distinctive persona and each is given time and a voice – grow up under the wing of Marmee, their wise and loving mother – the moral compass. Jo is the heroine, but the book’s richness is due to the quartet. Jo, the tempestuous willful one, chafes against the constraints imposed upon her sex and her writing aspirations, yet she is sustained by the cocoon of family with all the moralistic goodness it borrows from its Concord surrounds. She can rebel, as Louisa herself did, but she is never far from the sisters and parents who nurture her. Cozy domesticity around the hearth and a turbulent writing life in the garret – those are the opposing poles.

What Louisa preferred to write was in stark contrast to her famous novel. Under a pseudonym, she wrote gothic pulp fiction – lurid melodramatic tales featuring strong willed heroines, deceitful, intent on exacting revenge, with titles like Pauline’s Passion and Punishment. They featured sex, spies, and hashish, a far cry from the family tranquility of her books about the March family. She never made public her dual writing career lest it scare off her followers. Little Women was an immediate success and the royalties assured her (and her family) a comfortable living. Yet she disdained her readers and delighted in sabotaging their conventional expectations.

jo-and-beth-by-Jessie-Willcox-SmithLouisa was not without her share of sentimentality.  One of her three sisters died at the age of 22. She had Beth, the fictional sister, follow suit. Beth, the impossibly kind, shy, selfless girl who Jo loves deeply. Her death would wring tears from a stone.

 

 

 

 

 

 

Babe: The Gallant Pig

 

009321

 

Babe: The Gallant Pig by Dick King-Smith

1983

Illustrated by Mary Rayner

Dick King-Smith arrived late at writing, having exhausted prior careers as a soldier, a farmer, and a teacher. As though he needed to make up for lost time, he was remarkably prolix over a 30+ year stint, and turned out over one hundred books, most inspired by his knowledge of the barnyard. In his banner year, he published almost a book a month. No need to read all these. Pick one, and make that one Babe: The Gallant Pig, and you will have found the silk purse.

DSC02490

 

Farmer Hagget goes to the village fair and wins a piglet in a “Guess my weight” contest. His voluble wife, whose defining characteristic is the run-on sentence, finds pleasure in the prospect of ham for Christmas. Babe, forever ignorant of his intended fate, is taken in by Fly, the black-and-white collie who teaches him the rudiments of sheep herding. Through his friendship with Ma, the aged ewe, Babe decides to adopt politeness as his modus operandi (“’If I might ask a great favor of you,….could you all please be kind enough to walk down to that gate….’”) rather than the snapping rudeness practiced by sheep dogs (“’Move, fools!….Down the hill. If you know which way ‘down’ is.’”)   The sheep, never before addressed with respect, are only too pleased to do Babe’s bidding. Using this approach, Babe saves the herd from sheep rustlers, thus saving his own neck from any future chopping block. He later takes on two dogs who have been worrying the sheep, and in the case of Ma fatally so, and he comes close to being summarily executed when Farmer Hagget believes mistakenly that Babe is the culprit. In the climactic final chapter, when he appears at the Grand Challenge Sheep Dog Trials, he is assured a place in the annals of sheep dog (or sheep-pig) history, to the cheers of spectators and readers alike.

DSC02492

Few books are honored by the films that are ostensibly made in their image. Think of the Disney Winnie-the-Pooh empire as a particularly egregious example. Babe is an exception. Read the book first (needless to say), but then it is fine to see the movie. King-Smith’s animals are realistic (his pigs eat swill, his dogs snap at sheeps’ hocks, his sheep get foot rot) in all but their speech. The movie is faithful to that premise – the animals are real, but they can talk. The cast has been swollen to include a few invented characters (a dog, a cat, a duck) to round things out, and the Hagget couple has lost a bit of their nuanced complementary relationship in favor of a more stereotypic humerous bond, but these adjustments work well for the screen. And then it is a pleasure to return to the book to appreciate its more subtle workings.

DSC02491

Now We Were Very Young & Now We Are Six

 

9780525444459__99779.1581323107

When We Were Very Young and Now We Are Six by A.A. Milne

1924, 1926

Illustrated by Ernest H. Shepard

 

James James

Morrison Morrison

Weatherby George Dupree

Took great

Care of his Mother,

Though he was only three.

James James

Said to his Mother,

“Mother,” he said, said he:

“You must never go down to the end of the town,

if you don’t go down with me.”

 

The mother, alas, ignores her son’s injunction and vanishes, irretrievably: “LAST SEEN/WANDERING VAGUELY/QUITE OF HER OWN ACCORD”. In Ernest Shepard’s accompanying illustration, the young James is madly pedaling his tricycle in desperate pursuit of his flighty mother as she disappears around a corner. download-3Disobedience is one of A.A. Milne’s most memorizable poems, and one of his best. He portrays the wonderful independence of a child’s mind and the natural audacity – James James goes immediately to the royals for help, in this case King John. Children reading the poem delight in the conceit – for children who are rarely in charge, it is a welcome relief to enter a world in which the mother is leashed to the tricycle rather than vice versa, and the mother is guilty of disobedience and suffers the consequences. It is a sign of Milne’s respect for children that there is no happy resolution – the mother is gone, for good. James James is not particularly sad about his loss, but simply disappointed that his mother failed to listen to him.DdFwIR9X0AENVXB

Milne published his two volumes of poetry when his only child, Christopher Robin, was four and six. The world portrayed was that of his son, one of Nurses and Nannies, beetles and bears and the great outdoors, and the occasional royalty. These latter were whimsical and flawed. Take the ruler in The King’s Breakfast, for instance, who is thwarted in his desire for some butter for his bread. The Queen, the Dairymaid, and the cow all try to persuade him that marmalade would be preferable. The King takes to his bed, whimpering with dismay, until he finally gets his desire fulfilled. Or Bad Sir Brian Botany, an old obstreperous knight who uses his battle axe to blip the villagers on their heads – until they rise up and dunk him in the duck pond, and more.   It is a world in which children can be wonderfully entertained by not much, as when a child watches spellbound as two raindrops (James and John) race, with many starts and stops, down a window-pane.

d156ca1e-7ac8-11e6-8c1a-bdb5e24e0ed7

 

Anne of Green Gables

 

annegreengables1945

Anne of Green Gables by Lucy Maud Montgomery

1908

Anne of Green Gables. There is no other character remotely like her. She is irrepressible, dramatic, talkative, imaginative, high-spirited, headstrong, passionate, ebullient, lively, impulsive, heedless. She is also sensitive, self-conscious, insecure, loving, generous, well-intentioned.

She first appears, waiting expectantly in a train station, as a skinny, freckled, green-eyed, redhead – a homely child. She enters the lives of Matthew and Marilla, an elderly brother and sister who had sent away for an orphan boy to help with the chores and haplessly ended up with an unlikely girl instead. She is a dreamer, bursting with imagination, exhilarated by the world. Matthew, a quiet shy gentle unpretentious and altogether good man, is quietly delighted by her. Anne recognizes immediately that though they could not be outwardly more different, they are really kindred spirits. Marilla is slower to warm. But over the course of five years, she responds to Anne’s hunger for love and eagerness to please, and comes to value Anne’s fundamental goodness and creative spirit. Anne is transformed by the undemonstrative love of Matthew and Marilla and their lives, in turn, are transformed by their act of selflessness.

4228001040_f2488bf00a_b

Lucy Maud Montgomery came from Prince Edward Island and her love of place is evidenced in the Anne books. She had an emotionally charged communion with nature that she bestows upon her fictional creation. Anne does not simply appreciate the natural world, she is intoxicated by it. The plot points are set pieces (Anne inadvertently dies her hair green instead of black, she unintentionally serves her bosom friend currant wine instead of raspberry cordial), but the descriptions of the Avonlea farmstead in the twilight, the apple tree allee in full blossom, the woodland flowers by the brook, as seen through Anne’s enraptured eyes, are always genuine. The setting is beautifully rendered, by author and character alike.

Screen-Shot-2015-04-27-at-9.09.35-AM

 

Aside:

“Do you never imagine things different from what they really are?” asked Anne wide-eyed.

“No.”

“Oh!” Anne drew a long breath. “Oh, Miss – Marilla, how much you miss!”

 

Rabbit Hill

Rabbit_Hill

Rabbit Hill by Robert Lawson

1944

Illustrated by Robert Lawson

New Folks coming. New Folks coming. This refrain is passed from animal to animal, from Little Georgie to his Father and Mother, to Pokey the Woodchuck, Willie Fieldmouse, the Mole, Phewie the Skunk. After a period of privation, the animals are excited that the Big House on Rabbit Hill will be occupied once again. They watch as the Man, the Lady, and their old Cat, Mr. Muldoon, take up residence, plant a lush vegetable garden, and generate a bounty of kitchen scraps. (“’You will find, Phewie,’ said Father with some heat, ‘that good breeding and good garbage go hand in hand.’”) The Man and Lady celebrate the first harvest with a feast for the animals, with the words “There is Enough For All”.

DSC01139

The plot does not seem like much, but this book has staying power. Robert Lawson created, largely through humorous dialogue, a distinct assortment of animal characters, beginning with the oratorical Father, variously viewed as eloquent or insufferably verbose (“He always continued until something stopped him.”), who constantly harkens back to his Kentucky bluegrass roots. There is the highstrung Mother in a perennial nervous state, the cheerful and enthusiastic Little Georgie, the folksy and curmudgeonly Uncle Analdas whose speech is peppered with “dingblasted” and “gumdinged”, and the loyal, courageous Willie Fieldmouse whose role it is to discover that Mr. Muldoon is just a harmless puffball.

DSC01140

Robert Lawson is the only creator of children’s books to have been awarded both the Newberry Award (for Rabbit Hill in 1945) and the Caldecott Medal (for They Were Strong and Good, a chronicle of his forebears, in 1941). His preferred medium was pen and ink, but for Rabbit Hill, he created soft-washed pencil drawings with his meticulous hand, quite different from the bold thick-lined caricatures of The Story of Ferdinand or Wee Gillis.

After graduating from art school, Lawson joined a group of artists and designers in the Camouflage Corps in France. The military value of concealing patterning and coloration took hold during WWI and a large group of artists (including such talents as Thomas Hart Benton, Grant Wood, and Arshile Gorky) were recruited to design and paint camouflage disguises for war equipment and installations. There were no mass produced camouflage uniforms at the time, and it is remarkable that all such clothes, usually reserved for snipers, were individually hand-painted.

When the war was over, Lawson married and settled in Westport, Connecticut. He and his artist wife committed to each designing one Christmas card a day until the mortgage was paid off. It took three years. Their home, Rabbit Hill, was the inspiration for the book.

86b95b795fd304e8d58f4082bed0633b

Aside: “The warm sun had loosened his muscles: the air was invigorating; Little Georgie’s leaps grew longer and longer. Never had he felt so young and strong. His legs were like coiled springs of steel that released themselves of their own accord. He was hardly conscious of any effort, only of his hind feet pounding the ground, and each time they hit, those wonderful springs released and shot him through the air. He sailed over fences and stone walls as though they were mole runs. Why, this was almost like flying!”

Big Tiger and Christian

Big Tiger and Christian by Fritz Muhlenweg

1950

Illustrated by Rafaello Busoni

 

Out of print for many years, this is a book that happens into hands by chance. It is read in appreciation and amazement and continues to haunt the reader for decades more. It is a book that has inspired travels and changed lives. Yet it is almost completely unknown.

 

The story begins, in part, with Sven Hedin, a renowned Swedish explorer in the grand tradition, who did much to fill in the white patches on the map of Central Asia. In the 20’s and 30’s, he lead the Sino-Swedish Expedition to Mongolia, the Gobi Desert, and Xinjiang, accompanied by an international bevy of archeologists, geologists, meteorologists, geographers, astronomers, botanists, zoologists. He was honored along the way by having a glacier, a lunar crater, and a butterfly (among other things) named after him.  My Life as an Explorer is a riveting travelogue.

The story continues, in part, with Fritz Muhlenweg. He was working as a young accountant with the new German airline, Lufthansa, when he was posted to Hedin’s expedition (Lufthansa’s interest was a proposed Peking-Berlin air route). He made three trips to Mongolia before settling into a career as a painter and writer.

Muhlenweg’s reverence for Mongolian culture is palpable in the tale that was inspired by his travels, and few books provide a deeper sense of place.  There are yurts, camel caravans, dunes, tamarisk trees, roasted barley, and language (try “zook, zook” if you want your camel to kneel). This is the backdrop that gives texture and depth to an adventure story that quietly enthralls. Two 12-year old boys, one European and one Chinese, go kite-flying in Peking and end up as secret couriers for General Wu. They embark on a 1,500 mile mission to Urumchi, on the far side of the Gobi Desert, by train, truck, horse, camel, and foot.  They encounter lamas, honorable bandits, dishonorable thieves, shepherds, traders, soldiers, warlords, wild monks, a nomadic girl, and a black poodle who have names like Dog, Sevenstars, Good Fortune, Affliction, Moonlight, and Thunderbolt. There is an evil villain named Greencoat and his nemesis, an outlaw king referred to as The Venerable Chief, a kind of Mongolian Robin Hood, and there is a hidden treasure in an abandoned desert city. Apart from the villain, who is irredeemably wicked, the characters are nuanced. Muhlenweg is sympathetic to even the roughest scallywags and in his hands they tend to rise to the occasion to reveal a hidden goodness.

 

 

 

 

Great Expectations

896853

Great Expectations by Charles Dickens

1861

We first encounter Pip in a desolate churchyard in the marshes, visiting the tombstones of his parents and five infant brothers, grasping that he is truly an orphan and alone in the world. Out of the bleakness, he is violently accosted by Magwitch, the escaped convict, who demands a file for his shackles and wittles for his stomach. The marshlands – wild, mysterious, apocalyptic – their silence broken only, on occasion, by the mournful horn announcing the escape of a prisoner from a convict ship, are an apposite setting to join two figures, forever thereafter intertwined, each with a moral compass more nuanced than would be initially expected. Few books begin with a first chapter as haunting as this.

7c

Dickens was a master at creating memorable characters, many of whom have become household fixtures – Ebenezer Scrooge, Oliver Twist, Little Nell. And then there were others, less well-known, whose names alone should buy them immortality – Wackford Squeers, the Reverand Septimus Crisparkle, Uriah Heep, Uncle Pumblechook. Scoundrel and angel, miser and spendthrift, judge and beggar, orphan and whore – Dickens could paint them all, some as comic caricatures, some as nuanced characters of profound complexity. Arguably, his crowning creation was Miss Havisham, the reclusive spinster, jilted on her wedding day, whose life is a memorial to that betrayal, timepieces frozen to that moment. She wanders her cobwebbed mansion in her moldering bridal gown, past the desiccated wedding cake on the dusty banquet table, plotting her misandristic revenge by grooming the icy Estella, her beautiful ward, to break the hearts of men (beginning, most notably, with Pip’s).

Dickens was also a master story-teller. His books were serialized in weekly literary magazines, each installment being eagerly awaited by his enthusiastic audience. Great Expectations came towards the end of his illustrious career, by which time his craft was finely honed. Unlike some of his novels (“loose baggy monsters” according to the disdainful Henry James), Great Expectations is tightly structured. It melds all the Dickensian ingredients – gothic shadows and Victorian sentimentality, scathing satire and sympathy for the working poor, humorous parody and anguished tragedy, plot twists and social commentary, psychological depth and melodrama – into a really great story.

Given a chance, children love Dickens, a chapter at a time, ideally read before a blazing hearth. Great Expectations is a perfect place to start. A Christmas Carol, Oliver Twist, and David Copperfield are good to follow.

9780735812598      ef7cb2d772f1c9eddefc27480ce5747a

 

The Borrowers

DSC02807

The Borrowers by Mary Norton

1952

Illustrated by Diana Stanley

Whether the toy is a twig doll with a hollyhock skirt and an acorn cup or a Lego figure from a Star Wars set, children like to enact their fantasies in a miniature world. Whatever the era, diminutive has always held fascination. There is a long chain of authors who have fed this interest in a parallel world of small, anchored at one end by Jonathan Swift. No one much remembers the giant Brobdingnagians, but the image of the tiny Lilliputians staking the sleeping Gulliver to the ground is one that stays. T.H White continued the Lilliput story in his imaginative Mistress Masham’s Repose. There have been a slew of other books of variable quality. But the queen of small people was clearly Mary Norton, the brilliant English writer who created The Borrowers.

1_vN3xAOg1Tm8OL_mbMxn5mw

Pod is the hardworking straightforward father, Homily the anxious harassed mother, and Arriety the spirited and curious 13 year old girl. They live under the kitchen floorboards of an old Georgian house in the English countryside, home to Great Aunt Sophie, a bedridden invalid who enjoys a decanter of Fine Old Pale Madeira every evening between 6:00 and midnight. There was a time when the house was full of borrowers, but the shrinking of the human household was accompanied by the emigration of the borrower families until only one remains. They live by quietly garnering from their human hosts – tea, sugar cubes, and biscuits, silver coins for plates, a lace handkerchief for a bedspread, a Queen Victoria postage stamp to hang as a portrait, discarded letters to wallpaper the sitting room with the writing running up and down in vertical stripes. Arriety’s bedroom is made from cigar boxes, so her view is of feathery palm trees and chiffon swirled ladies.

IMG_3546-826x1024

Their survival depends on their invisibility – only Pod leaves their home for his borrowing forays and the only human being who sees him is Great Aunt Sophy, who assumes their long conversations are a figment of her Madeira-soaked imagination. Their routine is upset when a young boy arrives, sent from India to convalesce from rheumatic fever. Arriety encounters him on her first borrowing expedition, and the consequences of their resultant friendship threaten the existence of the borrower family. They are forced to flee, and their lives are taken up in the sequel, The Borrowers Afield.

35574868644_61411fd40c_b

Mary Norton wrote six borrower books over a thirty year period – this is a rare series in which the sequels do not disappoint. The writing is light and intelligent, the characters subtly complex, the details inventive, and the stories fresh and truthful. The Borrowers was awarded the Carnegie Medal and ranks among the top children’s books ever written.

IMG_3547-629x1024The English editions of all but the last in the series were illustrated by Diana Stanley, and it is well worth hunting for them. She captured the tone of Norton’s writing and the nuances of the borrowers’ often precarious life. The same cannot be said for the illustrators of the American editions, Beth and Joe Krush, who seemed to be overly preoccupied by Victorian frippery, a style that Norton did not countenance.

Pippi Longstocking

pippi+longstocking

Pippi Longstocking by Astrid Lindgren

1945

As an adult rereading Pippi Longstocking, I had an uncomfortable sense that I had encountered this character in another guise. Could it be? Lisbeth Salander, the punk, damaged, vengeance-seeking heroine of The Girl With the Dragon Tattoo?

Dragon-tattoo-coverBoth superheroines who bring their superhuman powers to the defense of victims, brute strength in the case of Pippi, computer hacking in the case of Lisbeth. Both outsiders, awkward in the world, unable to read the cues of adult interaction. Both intolerant of societal norms and human hypocrisy. Both orphans, effectively. Both redheads.

As it turned out, I was right. Stieg Larsson was much influenced by his reading of Astrid Lindgren’s books during childhood. In his Millenium Trilogy, he named his alterego Michael Blomkvist after Lindgren’s boy detective series and he modeled his female feral warrior, Lisbeth Salander, after Pippi Longstocking.

Neither Lindgren nor Larsson were accomplished writing stylists. Lindgren’s prose is wooden and there is no narrative arc. Pippi is a shallow personality lacking any trace of emotional nuance. She tells us at the outset that her mother died and went to heaven, and that her father, a sea captain, was swept overboard during a storm, a catastrophe referred to thusly. “And then this annoying thing had to happen.” Even when saving small boys from a burning building, she seems largely lacking in empathy. When she disrupts the school classroom, when she explodes onto the circus ring, when she taunts the mothers at the coffee klatch with their endless complaints about servants, she is relentless and does not know when to stop. Despite the irritatingly frenetic illustrations that accompany most Pippi editions, there is nothing particularly funny about her antics – rather, they elicit the same kind of uncomfortable embarrassment that meets an off-color joke. Perhaps this is most apparent when she manhandles two burglars into submission and forces them to dance the schottische with her. Hours later, exhausted, they slink away, and I am reminded of the analogous scene when Lisbeth wreaks her revenge on her abusive guardian.

b7c3d1282dcec3abe96fb16308752d03

Despite the flaws, Lindgren managed to create a compelling character whose popularity has remained intact for generations of readers. The premise is admirable – a nine year old girl who lives an unsupervised life in the Villa Villekulla, alone save for a monkey and a horse. She is resourceful, independent, irreverent, self-reliant, unconstrained. She is at her best when she shares her unfettered life with Tommy and Annika, the children next door, and it is only towards them that she shows a modicum of affection. The book is at its best when Pippi leads them into a world of imaginative play that showcases her tall tales from her former seafaring life, her transformation of the ordinary humdrum into marvels of wonder, and her 90-degrees-off quirky way of doing things. What I remember from reading Pippi Longstocking as a child was something quite simple – her conferring of treasure status on found objects (“Lumps of gold, ostrich feathers, dead rats, candy snap crackers, little tiny screws, and things like that”) and her secreting her worthless valuables in a hollow tree.

220px-Astrid_Lindgren_1924

(Illustration of Pippi with horse and monkey by Abby Haddican.)