“…and the nursery rhymes are different!”
I was commiserating with another translocated mother; she’s British and raising a son in Hawaii with an American husband, while I’m exactly the opposite. (Yes, I’m fairly sure that York is the opposite of Hawaii, alas.) We had been speaking about the subtle but substantial differences in nomenclature for British and American babies–everything from nappies vs. diapers to how the wheels on the bus go round and round, either all day long or all through town. London Bridge is rebuilt with different materials (silver and gold??) in the UK, whereas in the USA you take the key and lock her up…my fair lady. Needless to say, this all feeds into my shonky, blinkered ethnography of the UK, with this particular instance falling into the chapter on raising children.
Many of Tamsin’s books are from her grandparents who amassed a wealth of literature through teaching and having four children of their own. These are well-loved, disintegrating, and taped-together but remain compelling and most are still in print today. My favorites are the decidedly psychedelic Meg and Mog books (late 1970s):
Though The Tiger Who Came to Tea (1968) is a close second–its ambiguous (anti-fascist?) narrative of a very large furry tiger who eats all the food and all the drink in a house occupied by a little girl and her mummy while daddy’s away is oddly chilling, and requires a greater literary scholar than I to unpick.
Janet & Allan Ahlberg’s Peepo (1981) is another classic British children’s book that I was not familiar with. Without getting too much into the literary devices in the book, it is told from the perspective of a little baby boy who peeps through a hole cut into the next page at various scenes of family life.
While it is not stated, the book is set during WWII, yet portrays a happy domesticity during a devastating war. This would have probably been obvious to any British readers, with the barrage balloon/anti-aircraft blimp in the background of an image of a park, a bombed-out building in the distance, gas mask on the bed, and the father is shown in uniform toward the end of the book.
This is obviously a idealized, heteronormative vision of the British past, one that probably feels true and right and comfortable. Dan tells me that a lot of children’s books are set during this time; my sample and experience are still relatively limited. What caught my attention is the architecture–we live in a similar Victorian terraced house that backs onto a small, paved yard with a tiny garden.
I started noticing the period-specific features of the house, ones that are mostly gone from ours, like the big stove in the kitchen and the outhouse tacked onto the end of the shed. The traces of these remain in our house, and some of our neighbor’s houses still have the back shed.
I realized that you could figure out the interior of the house and the location of the various rooms from a generalized knowledge of the architecture of these houses. This is how ingrained and ubiquitous these terraced houses are in the UK. In fact, after reading the book at least 1,000 times, I reckoned it was close to this set up:
In this modern version the back shed has been converted into a kitchen and the former kitchen is now a dining room.
The interior scenes in Peepo are remarkably consistent, with objects (artefacts) appearing and reappearing as the everyday things interwoven into life. I wondered if the house was based on one from the Ahlbergs’ past, or if terrace houses were so generalizable that elaborate planning of the various scenes was not required. Of course the kitchen is there, with the stove just so, and the clothes horse in the corner.
I also love the book as potential inspiration for archaeological illustrations and reconstructions. It’s not messy, just full, rich with materiality and every object has a used and purposeful feeling to it. Small piles of toys are a playtime interrupted, but not quite cleared away. According to an interview in The Guardian, the illustrator Janet Ahlberg used The Army and Navy Stores Catalogue, 1939-1940 for reference and “would get waylaid in it and sit for ages looking at bread-bins and kettles.”
The book is from a baby’s perspective, watching his family move around him and the details he picks up that might go unnoticed by adults. It also evokes the “daily round,” of waking, daily activity, then bath and bedtime. Out in the back yard he sees:
A bonfire smoking
Pigeons in the sky
His mother cleaning windows
A dog going by
Here’s a video of Allan Ahlberg reading Peepo:
Colleen Morgan 
