By Nikki Gamble, Nick Tucker
This article analyzes the fictitious portrayal of the kid within the kin. It examines the literary illustration of the fashionable relations in its varied varieties and comprises opinions of the paintings of Morris Gleitzman, Jacqueline Wilson and Anne positive.
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Lou is the focalizer for this story about her close but unconventional relationship with her mother. As she starts to unearth new information about the identity of her mysterious father the clues fit together like fragments of broken pottery. The opening chapter positions the reader to view Anna the mother, with some suspicion and to accept the validity of Lou's growing uncertainty: Lou had always known that her mother Anna, was a thief. Was thief too strong a word to use? She used to think so.
153) Craster reinstates the family values of a bygone era, insisting on unquestioning obedience to one's elders. 'Papa is the law here', Charlotte reminds her sister. The girls are instructed, as Marmee had impressed upon her 'little women', not to actively search for husbands; if God intends them to marry He will send a husband to them. To the uninformed observer a family scene is an illusion of perfect harmony: The girls wore their home-made evening clothes: dresses cut from dark-coloured velveteen, with removable white lace collars.
Danziger's Lauren thinks her mum's greatest pleasure is buying a new dishwasher and her father is only happy if insurance sales are good. The parents in Rushton's books repeatedly show themselves up through excessive consumption of alcohol and consequently acting outrageously. 'Halfway through the evening when the parents had reached that silly stage that follows four glasses of rum punch, Lauren had escaped the humiliation of watching Melvyn doing his Englebert Humperdink impression' (p. 5). In fact the parents are often represented as having similar problems to their teenage sons and daughters brought on by mid'life crises or menopausal symptoms.