One day my wife brought home a storybook she thought I might like to read to Owain, then eight years old: it was one of hundreds of titles written by the phenomenally productive children’s author Enid Blyton. As we made our way through The Enchanted Wood I began to wonder whether this could be the same book that had enthralled me when I was around his age, but I couldn’t remember its title or the thread of the narrative, all I had was a hazy memory of children and animals living an idyllic existence in a tree. Quite a while before my wife brought home that storybook I had told her about an experience I’d had when I was very young of reading a full length book for the first time and what a spellbinding, charged experience it had been. As I turned the pages of Owain’s new storybook, I became more and more sure it was the same book that had bewitched me when I was a little boy.
I was too young to have been able to express how reading a full length book had made me feel, but it made me not want to return to ordinary life; I desperately wanted to lose myself in that arboreal wonderland and never leave. After I’d finished reading the story I expected it to continue into a second book – how could it not? I must have searched the classroom library for the sequel, and quite likely quizzed my teacher as to its possible whereabouts, but to no avail. I recall the terrible frustration of not being able to find that second volume and resurrect the elusive world I’d visited; it had to be somewhere, it just had to be; but it wasn’t. My memory of the crestfallen state I got into is as sharp as a pin, stuck forever in the map of childhood. When I told my wife about this melancholy experience she said, shrewdly I thought, “You’ve been searching for that second volume all your life.”
I have no recollection of being taught how to read by any of the teachers whose classes I passed through; likewise, I have almost no recollection of anything I might have been taught. However, I did avidly consume comics such as The Beano, The Dandy, The Topper, The Beezer and The Eagle; and for a long time I was morbidly addicted to American horror comics, the more macabre the better; all making a contribution in their own way to the development of my literacy. Pre-dating The Enchanted Wood I retain a single, vivid memory of the kind of pedagogy I was subject to as a very young learner: I’ve barely taken my seat on my first day in Miss Bendall’s class at Saint Vincent de Paul’s Infants’ school before becoming aware of an imposing column of white cards running up one of the walls: written big on each card is a vowel combination, forming a vertical stack of hieroglyphics whose incomprehensibility puts me on edge, yet I can’t avert my eyes and stare at them intently. I know these cryptic decorations are important because they occupy pride of place in the classroom; they relate to reading and writing, I do get that, and I also realise that at some point I would have to grapple with these daunting configurations; it was an unsettling first encounter with the building blocks of literacy.
Reading The Enchanted Wood was the first time my imagination had been colonised by the printed word. I’m sure it couldn’t have been too long after that before I jumped into a deeper literary pool: most likely a teacher or a classmate would have told me about the Windsor Street public library, perched atop the city’s only hill, high enough to see over the river and a good twenty minute walk from where I lived. None of my friends ever accompanied me on my visits there; I don’t know why that was, but my trips were usually undertaken alone. Windsor Street children’s library was an inviolable space, with its waxed parquet floor, hardwood tables, and windows that allowed in acres of daylight. It was a peaceful book-lined redoubt far away from the conflicts of my disintegrating home life and I was as content there as it was possible to be, in an environment free of threat, where I could pick up any book I wished, perhaps scan a few pages, return it to the shelves or borrow it if something about it appealed.
As an adult I need the tactile pleasure of paper and don’t use any kind of electronic device for serious reading. Not long ago I became a resident of Edinburgh, a city blessed with numerous second-hand bookshops; it goes without saying I’ve been inside most of them and know now which are the good ones and which are rubbish. A couple of Xmas’s ago whilst browsing in one of these shops I bought four ancient, anonymous looking hardbacks, all in quite good condition, and when I got home I made a package of them for Owain and left them under the Xmas tree; when he tore off the wrapping on Xmas morning and saw their titles he whooped. It hadn’t been too long before this that our lives had been brightened by Just William, an antique collection of stories by Richmal Crompton, about the exploits of a put-upon eleven-year-old gang leader and his ragtag pals, The Outlaws. Our eponymous hero and his deeply middle-class family live in the Arcadian serenity of the English countryside between the wars; they and their neighbours have servants and exist in a comfort zone far removed from the troubles of the real world. William’s wayward schemes are forever being undone by interfering adults – furious gamekeepers and grumpy farmers are regular despoilers of William’s quest for interesting fun – but regardless of meddlesome grown-ups, he and his loyal Outlaws manage to emerge from most of their escapades with unlooked for credit. Crompton makes no concession to the possibly limited vocabulary of her audience – we must come up to her level – and she doesn’t condescend to her readers; but most importantly, her stories are full of humour and reassuring absurdity. William’s enduring popularity is testament to the author’s talent as a writer for children: the first collection of her stories was published in 1922 and the last one in 1970.1 There are 38 books in all and, fortunately for me, I found a sizable number of them on the shelves in Windsor Street and religiously made my way through every one of them. William’s milieu was a zillion miles away from the war ravaged inner city that was my home, and in an echo of the lost world of The Enchanted Wood his freedom to play in the woods and fields around his village spoke of a pastoral idyll I could only ever dream of.
I can’t recall where I came across The Little World of Don Camillo, perhaps in the children’s library, maybe in the adults’, but I was a bit older when I discovered William’s successor. I came to love Don Camillo with a sentimentality that’s hard to comprehend now. Giovanni Guareschi wrote about the life of the inhabitants of a small northern Italian town during the politically unstable years after WWII, when Italy’s Communist Party, the strongest party of the Left, was achieving electoral success. His stories are simply told and revolve around the quotidian struggles between the muscular parish priest, Don Camillo, and the equally muscular communist mayor and garage mechanic, Peppone. Don Camillo is often to be found on his knees in the church seeking guidance from the crucified Christ above the altar: How, he implores his Saviour, can he undo Peppone’s latest machinations to persuade his impoverished parishioners to abandon their religion and embrace Moscow? But Christ, with a deeper understanding of the hardscrabble life than Don Camillo, often has to admonish him – gently, it must be said – for his hot-headed reactions towards the mayor and his godless comrades. Nonetheless, Don Camillo and Peppone, adversaries though they may be, have the interests of the people at heart and when catastrophe strikes, as it does, their reciprocal history of struggle – they fought side by side as partisans in the war against fascism – enables them to lay aside their differences and work together for the common good.
I managed to unearth an old copy of The Little World of Don Camillo, published 1951, in Edinburgh Books, the premier second-hand book depository hereabouts; it was in pristine condition, and though shocked by its price tag, I held my tongue and handed over the money. I read the stories to Owain – and to my wife – and while I read I was aware that Owain was unusually attentive and not easily distracted, as he often is. The religious dimension of Don Camillo’s world may have gone over his head, but not the politics: for an 11-year-old he’s historically well informed and knows about Stalin’s relationship to Trotsky; and the Labour Party and the creation of the National Health Service, and on a more contemporary front he is a vociferous supporter of the Scottish National Party (his bedroom window is plastered with Vote SNP stickers). When we came to the end of the final story in The Little World he begged for more: I brought home Don Camillo and the Prodigal Son and Don Camillo’s Dilemma, and we read every story, one after the other.
I had some understanding of Giovanni Guareschi’s portrayal of the religious and political tensions of post-war Italy as similar motifs were present in my own childhood; attenuated in comparison, naturally, but there all the same: I participated in my father’s socialist politics by delivering his election pamphlets (Vote Labour! Vote for Hughie Carr!) to all of the tenement households in our working-class neighbourhood (my fee was a shilling per tenement block); and I even attended a public meeting where he was a platform speaker (an outing so yawningly dull I vowed never to attend such an event again); and the Catholicism central to Don Camillo’s life had been at the core of mine when I’d served for a time as an altar boy, but though my enthusiasm for religion had diminished, it was embedded too deeply to entirely disappear. These historically opposed forces, the narrative lynchpins of Guareschi’s stories, were threads in my own world and empathetically connected me to his two contrary heroes; or I fancied they did.
Before the digital age was even a speck on the horizon, the Windsor Street library was where I became a reading child. There was nothing to read at home; the few books we did have were about British politics and politicians and sat undisturbed on the shelves of my father’s locked writing cabinet, and my mother wasn’t a reader of anything (Compensation for the dearth of reading matter came once a week, on a Sunday, when I was sent by my dad to fetch all the national newspapers; when he’d finished with them they came to me). My parents’ marriage was in perpetual crisis and neither of them paid any attention to my education; I was left to sink or swim. When, at the age of 16, I should have been revising for exams critical to my future, I could be found hiding in the city’s multi-floored Central Library, staring unhappily at my schoolbooks: after five tormenting years of academic failure it was impossible to get my brain in gear and I needed little persuading to abandon the pretence of study. I holed up in the Art Library on the sixth floor and passed the time flicking through anthologies of cartoons from publications such as Punch and The New Yorker. And when tedium tightened its grip, as it did, I’d drift off to nearby St John’s Gardens, site of a long disappeared lunatic asylum, and sit on a bench and smoke Woodbines and gawp at the maw of the Mersey Tunnel entrance, visible at the low end of the sloping gardens, all the time worrying about the future. After a while I’d traipse back to the library and trawl for more cartoons.
When the long incarceration of my schooldays came to an end, the transition to a new reality, an adult reality, with no prospects, aspirations, qualifications or goals of any kind, was impossible to adjust to. After two aimless years of drifting from one job to another – box packer; car washer; farm labourer; van driver’s mate – I left home and moved to a small town in the south where I found a job pruning trees and mowing grass for the local Council, and on three evening’s a week I went to night school and studied for the exams I’d failed. On the strength of this I was accepted as a student at a northern art school. Thus began my climb out of the trough of despond.
Lying in bed last night, drowsing on the edge of sleep I was thinking of Windsor Street library as a small world peopled by children like myself, hungry for stories and watched over by book shepherds, courteous librarians who left their wards alone to graze… but I regret that no grown-up ever showed an interest in what I might have been reading; how I would have appreciated someone saying: “This is a good book; I think you’ll like it.” My choices of what to read were perforce random and uninformed, so most of the classic stories of childhood remained concealed in plain sight on the library shelves; a very long time was to pass before I experienced the vicarious pleasure of reading to Owain fabulous stories such as The Secret Garden, The Borrowers, Doctor Dolittle, The Hobbit and Lord of the Rings, Little House on the Prairie, Kidnapped, Black Beauty, Stuart Little, The Eagle of the Ninth, Emil and the Detectives, Pippi Longstocking.2 It won’t be too long before Owain is a teenager so our reading has of necessity shifted up a gear: a big shock has been his demand for P. G. Woodhouse’s Jeeves stories (which I read to him in a faux posh accent); so far we’ve negotiated two volumes of Spike Milligan’s whimsical war memoirs;3 and we were riveted by ex-Home Secretary Alan Johnson’s compelling autobiography of his childhood in post-war London.4 This morning before my wife left for work she said she thought Owain might be ready for Robert Grave’s I Claudius; a bit of a stretch I felt, but a couple of minutes later, on the principle that one’s reach should exceed one’s grasp, I wondered if she might be right. But Clau- Clau- Clau- will have to wait as we’ve just started on another book of William adventures.
In ancient China, the retiring Chán patriarch would invest his successor with the mantle of authority by handing over his robe and bowl in a symbolic transmission of the Dharma. A few days ago Owain brought home his end-of-year school report. In among the education-speak his class teacher says: “…he is a fluent, expressive reader with a very good understanding of the text and writer’s craft… [and his] writing is of a high standard, he has good ideas and writes in a mature style using great vocabulary, phrases and techniques to engage his reader.” Robe and bowl, it would appear, have been passed.
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I was stupid not to have followed my instinct and bought the book the day before when I saw it in the shop window; I turned around, quickened my pace and headed back to Gorgie. Waiting impatiently for a break in the traffic, I squinted toward the display window of the charity shop, trying to see if it was still there: it was, nobody had bought it, probably because of its price; regardless, I stepped out of the shop with The Faraway Tree Collection: Three exciting stories in one. The first of the three stories comprised The Enchanted Wood; the second… the mythical second volume, The Magic Faraway Tree; and the third, well, it doesn’t matter. The book is currently sitting on a table in the bedroom, near a rough wooden carving of a wandering monk, staff in his right hand, his worldly possessions in a small bag hanging off his left shoulder; he stands next to an exquisitely filigreed iron Buddha that had been thrust in my face by an old shopkeeper soliciting for customers from the doorway of his murky shop in a Tianjin market, his sales pitch confined to one word, “Antique!” I have no plans for the book, its only function is to be in the company of the Buddha and the monk as a marker for a period of happiness, a childhood jewel in the lotus.

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[1] Just William beat Harry Potter for popularity and was named one the best children’s books of all time by five children’s laureates chosen by the Guardian newspaper in 2009.
[2] My list of best authors for children would include the likes of Roald Dahl and Eva Ibbotson, writers so scintillatingly good you could pick up anything written by them; Philip Pullman, whose Dark Materials trilogy stands alone; Richard Adams, author of Watership Down; Clive King, who wrote Stig of the Dump, now considered a modern classic; Gerald Durrell, author of My Family and Other Animals; Meera Syal, child of Indian immigrants, whose hilarious account of growing up in a Midlands mining village, Anita and Me, was so good I read it twice; and absurdist author David Walliams; but not J. K. Rowling, whose Harry Potter books we set aside after reading only one of them.
[3] Hitler, My Part in his Downfall; Rommel, Gunner Who?; Monty, My Part in His Victory; Spike Milligan
[4] This Boy; Alan Johnson.