Marianne Dreams

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Ren: I think they wanted to rehabilitate the image of him after the horrifying dream father sequence. Because he seems pretty decent. Another one of her pupils, a boy named Mark, who we never see outside of Marianne's dreams, is also ill. Adam: Which is what I think makes the film a very odd adaptation of the book because it’s coming from a very different perspective. Ren: Yeah, I did wonder about that. Because they’re like ‘we could get down to the beach by drawing a ladder’ but then they think ‘oh, but you couldn’t draw a ladder that long’.

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I have spent years trying to work out whether I imagined this TV series or not and wondering what it was called! I remember watching it when I was about 7 or 8 and it was really scary at that time, but so gripping that I had to keep watching it. Years later I saw the film "Paperhouse" and noticed the similarities, but the moving stones with eyes weren't in it (the bit that I found the scariest as a 7 year old) and some of the plot lines had been altered and so it wasn't the same, although still a tremendously good film.

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Ali: I really liked the grass. The grass is genuinely described as being malign. Right from the beginning when she finds herself out in the grass, and also later when she has to hide in the grass, during the escape from the house, there’s definitely a feeling that the grass is watching and it’s not on the children’s side. Well, they look like - you look yourself. Look between the bars, only don’t let them see you. Outside the fence - you can see between the posts. Be careful.’ Ren: She decides to make a girl to be friends with because she’s angry with Mark. But she draws her to totally the wrong scale, so she’s worried for a while that she’s created a friendly giant of a girl.

Escape Into Night – Nostalgia Central Escape Into Night – Nostalgia Central

Ren: The not-father is creeping down the stairs and Mark’s urging Anna to destroy just the part of the drawing with her father in it. But she’s asleep, so her sleeping self is reaching for this drawing, and she has a candle next to her bed, and she manages to set it on fire. Become a Faber Member for free and receive curated book recommendations, special competitions and exclusive discounts. Adam: There was a beach. It did remind me, reading the book, how much better board games have got. They have chess, and they’re like ‘we could draw Monopoly’ and then play two games of Monopoly in a row. I was like, God, two games of Monopoly in a row! I felt sorry for them.Adam: No Settlers of Catan for them to play. They don’t even have Kerplunk. Although Kerplunk would probably be quite hard to draw and if you drew that you might end up with a horrible monster in the paper world.*

Marianne Dreams | Faber

Anna sketches her father into the drawing so that he can help carry Marc away, but she inadvertently gives him an angry expression which she then crosses out, and the father (who has been away a lot and has a drinking problem, putting a strain on his marriage) appears in the dream as a furious, blinded ogre. Anna and Marc defeat the monster and shortly afterward Anna recovers, although the doctor reveals that Marc's condition is deteriorating. Catherine Storr (1913-2001) was an English children's writer, best known for her novel Marianne Dreams and for the Clever Polly series. She was born in London, and attended St Paul's Girls' School, and went on to study English literature at Newnham College, Cambridge. She tried unsuccessfully to become a novelist but without giving up this ambition she studied medicine, qualifying as a doctor in 1944. She worked at the Middlesex Hospital. Afterwards, while regularly producing new children's books, she also worked as an editorial assistant for Penguin Books, from 1966 to the early seventies. She married in 1942 and had had three daughters. She divorced in 1970 and remarried the economist Lord Balogh (1905-1985). Sleep is the portal here. When Marianne falls asleep in real life, she “awakes” in the dream; and – indeed – vice versa. And her descent into the dream state is depicted with the utmost poetry: “She didn’t just go to sleep – she dropped thousands of feet into sleep, with the rapidity and soundless perfect of a gannet’s dive.” Unlike Marianne, Mark is a permanent presence in the house: is this a reflection of his more serious illness and his steep descent into long-term unconsciousness? Does his loss of everyday wakefulness result in a sleepless dream existence? Again, the ambiguity is left hanging in the pale, oppressive half-light of the nightmare. This leads to an incredibly threatening sequence, in which her father appears outside the paper house, and Marc is telling her that it’s dangerous and she shouldn’t go to him, but Anna runs out to meet him. He’s calling her name but then shouts: ‘Anna, is that you? I’m blind!’ and she realises that it’s not her actual father, but a kind of wrong, scribbled-over, murderous version, brandishing a hammer. And it’s the distinctly unsaid that makes the story so potent: if the features of the nightmare world are dependent entirely on the drawings in Marianne’s sketchbook, then what exists beyond that? When Mark and Marianne escape the house, and set up a John Wyndham-esque “cosy apocalypse” homestead, barricaded into a lighthouse of her creation, what lies across the ocean that they wistfully gaze out upon? It’s a book filled with questions, and lesser authors might have unwisely attempted to provide logical, join-the-dots answers.Ali: Well, in the book. Marianne draws a radio in another room to where Mark is, because she thinks it will keep him entertained. But then when they turn it on — well, we haven’t talked about THEM yet, but anyway, it’s a sinister radio.

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Which you don’t get in the book, because the things in the book are real, and are the right shapes for what has been drawn.

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Ren: So I have two textures of the week, they’re both from the same scene in the film, and they’re both great. So my first one is the huge industrial-looking ice-cream machine — Anna keeps mentioning her father, and how she wants to see him, but we also find out that in the past he’s been drunk, and there’s some implication that he’s been threatening. Or Anna, at least says ‘I don’t like him when he’s drunk’. Buy from our bookstore and 25% of the cover price will be given to a school of your choice to buy more books. *15% of eBooks. Home > Adam: Well, in the film he has muscular dystrophy. So we kind of know as adult viewers from the start that he’s probably going to die. Muscular dystrophy’s degenerative and pretty devastating.