Curse of the Dream Witch

by Allan Stratton
Scholastic Canada
978-1-4431-1937-5
266 pp.
Ages 8-12
September, 2013

While Allan Stratton has demonstrated a craft for social justice fiction writing with Leslie's Journal (Annick, 2000), Chanda's Secrets (Annick, 2004) and Chanda's Wars (HarperCollins, 2008), last year's The Grave Robber's Apprentice (reviewed here) has grounded the author's writing feet firmly on middle-grade turf.  With Curse of the Dream Witch, Allan Stratton has secured himself a position in MG youngCanLit.

In the Kingdom of Bellumen, it is the twelfth year of the Great Dread, a time in which parents fear for their children's safety, with boys and girls disappearing at night or in the woods.  All is blamed on the Princess Olivia, whose parents King Augustine and Queen Sophia had sought the help of the Dream Witch in having a child.  The Dream Witch had only asked for a small keepsake which she demands at their daughter's christening: the heart of their daughter, Princess Olivia.  But, Olivia is protected by a dozen pysanky (decorated eggs) gifted to her from Ephemia, the court wizard, and the Dream Witch angrily curses them,

"By the morning of the princess's thirteenth birthday, these twelve pysanky will be destroyed and I will have her heart. Until it beats in my hand, none of your children will be safe." (pg. 11)

So the Great Dread began, with curfews and restrictions placed on the children of the Kingdom, including Olivia, so that they may be kept safe from harm, though many children do go missing and their family homes burned.  By the time Olivia is 12, there is only one of the delicate pysanky left unbroken and she is locked in a turret cell with it and only her books and pet mouse, Penelope. 

Milo, a farmer's son born on the same day as Olivia, is desperate to leave his tedious life of corn farming by day and locked in the house at night.  Accidentally, Milo ventures into the woods and is taken by the Dream Witch, awakening in a glass jar, one of many with children from which she takes gratings for her spells. Using a drawing to transport Milo to the armoire in Olivia's turret, the Dream Witch threatens Milo with his parents' lives if he does not bring Olivia to her.  It is fortuitous that Milo is there in the armoire when Olivia decides that she must runaway rather than going with the disgusting and arrogant Prince Leo of Pretonia and his uncle, the Duke of Fettwurst, ostensibly to keep her safe but ultimately for marriage.

So the adventure begins, with everyone tackling their fears, Olivia trying to evade Leo and the Dream Witch, Milo struggling with his need to save his parents but not get Olivia harmed, Penelope showing herself to be...(you'll discover this when you read the book) and Leo and the Dream Witch manipulating everyone with lies and magic.  For Olivia, Milo and Penelope, it's a perilous escapade through repugnant heaps of earthworms, demon dolls, deceiving look-alikes, and other beasts, with only fear, friendship and courage to guide their actions.

Curse of the Dream Witch is a cautionary tale that illustrates, as the Dream Witch so aptly recognizes, "Dreams can become nightmares" (pg. 4) with Allan Stratton's imagery so visual that the nightmare is almost tangible. From the Dream Witch's nose that was,

"Longer than an elephant's trunk, and twice as wrinkled, its base spanned the width of her forehead, descending between her eyes to her waist, where it coiled around her body and looped itself into a belt." (pg. 4)

 to Leo who was "... slimy, with spots. Sweat dripped from his pasty cheeks, while his pimples glistened like ripe cherries" (pg. 59) and a beast with, "Claws attached to tentacles with suckers the size of plates." (pg. 152-3) Yuck, right? In the true spirit of folktales and fairy tales, children's stories that include supernatural elements such as the magic of the Dream Witch, Curse of the Dream Witch does more than teach about perseverance and self-respect and caring for others (that's the teacher in me talking): it entertains with humour, irreverence and surrealistic repugnance, without the violence.  I can already hear the laughs and "Yucks" soundtrack that is sure to accompany any reading of Curse of the Dream Witch.

The Grave Robber's Apprentice

by Allan Stratton
HarperCollins Canada
978-0-06197-608-7
256 pp.
Ages 10-14
March 2012

Far from the menace suggested by Allan Stratton's title, The Grave Robber's Apprentice is merely the occupation which an infant boy, retrieved from a jewelled chest awash on the shore, is anticipated to fill by his rescuer, Knobbe, a grave robber.  After twelve years, Hans knows very little about himself, except that he does not want to be a grave robber.  On the other hand, Angela, the twelve-year-old daughter of the Count and Countess von Schwanenberg knows that she wants to write and perform her marionette plays in all the courts of Europe.  But, when Archduke Arnulf decides that Angela will become his next archduchess upon her thirteenth birthday, their lives take an unexpected turn.

While Knobbe uses tales of the Necromancer, an evil sorcerer who speaks to the dead, to keep Hans in line, Angela seeks out this Necromancer to help her evade her fated marriage to the iron-handed (literally) Archduke.  Her plan to use a potion to mimic her death is thwarted by the Necromancer who betrays her to the Archduke.  Luckily, Angela is saved from suffocating in her crypt by Hans, who begs to join her in saving her parents from the Archduke.

Along their journey to the mountain refuge of Peter the Hermit, a wise man who had named Angela at birth, Hans and Angela are hunted by the Necromancer and his unsavoury minions, Weevils.  With the help of some extraordinary new friends, Hans connects with his past, Angela rescues her parents, and both children help restore order and integrity to the Archduchy.

Though an unusual plot for Allan Stratton, whose emotionally-charged books Chanda's Secrets (Annick Press, 2004) and Chanda's Wars (HarperCollins, 2008) address tough issues of AIDS, child soldiers and civil war, The Grave Robber's Apprentice actually feeds Allan Stratton's passion for theatre, particularly the Stratford Shakespeare Festival.  In his Acknowledgements, Allan Stratton describes his love of classic storytelling and attending shows and working, both on stage and behind-the-scenes, at Stratford.  As such, all the features of classic tales - an evil entity, weak-willed followers, the requisite royalty, a secret, some magic, and a quest or two - with the added flavour of Shakespeare's comedies and tragedies come together in The Grave Robber's Apprentice.  As the author eloquently draws the reader along, following the purposeful Angela to right the wrongs done by the Archduke, and Hans who haphazardly becomes enlightened about himself, Allan Stratton provides the charming theatricality of fairy tales and plays as the vehicle to advance the tale to its happy ending. (Come on, you knew there would be a happy ending, didn't you?)

Moreover, it's a reader's delight to identify the hidden references made to the much-loved classics.  Intimations to Shakespeare's Macbeth (e.g., the Necromancer's three prophecies), Romeo and Juliet (e.g., a potion to mimic death), The Taming of the Shrew (e.g., Bianca, and "no taming of the shrew"; pg. 231) and L. Frank Baum's The Wonderful World of Oz (e.g., "I'm melting! I'm melting!"; pg. 266) are but a few examples, and I fully intend to reread the book just to reveal a few more.

And, if you're still not sure that The Grave Robber's Apprentice is the amalgam of fairy tales and Shakespeare but instead a dark, menacing tale of thievery, let this last note convince you.  True to form, Allan Stratton starts the story with "Years ago,..." (that's "Once upon a time," right?) and ends it with the "The End."  How classic is that?

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In this author talk video, uploaded by Harperkids, Allan Stratton shares more about The Grave Robber's Apprentice and his writing.

  Uploaded by HarperKids on March 13, 2012 on YouTube