were spilt on his bib, Jane and Michael could tell that the substance in the spoon this time was milk. Then Barbara had her share, and she gurgled and licked the spoon twice. Mary Poppins then poured out another dose and solemnly took it herself. “Rum punch,” she said, smacking her lips and corking the bottle. Jane’s eyes and Michael’s popped with astonishment, but they were not given much time to wonder, for Mary Poppins, having put the miraculous bottle on the mantelpiece, turned to them. “Now,” she said, “spit-spot into bed.” And she began to undress them. They noticed that whereas buttons and hooks had needed all sorts of coaxing from Katie Nanna, for Mary Poppins they flew apart almost at a look. In less than a minute they found themselves in bed and watching, by the dim light from the night-light, the rest of Mary Poppins’s unpacking being performed. From the carpet bag she took out seven flannel nightgowns, four cotton ones, a pair of boots, a
Australian-British novelist, actress and journalist (1899–1996)
Pamela Lyndon Travers (August 9 1899 – April 23 1996) was a British author, born Helen Lyndon Goff in Maryborough, Queensland, Australia, best known as the creator of the "Mary Poppins" series of stories.
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She doesn’t hold back anything from them. When they beg her not to depart, she reminds them that nothing lasts forever. She’s as truthful as the nursery rhymes. Remember that all the King’s horses and all the King’s men couldn’t put Humpty-Dumpty together again. There’s such a tremendous truth in that. It goes into children in some part of them that they don’t know, and indeed perhaps we don’t know. But eventually they realize — and that’s the great truth.
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Every bed has a right and a wrong side,” said Mary Poppins, primly. “Not mine — it’s next the wall.” “That makes no difference. It’s still a side,” scoffed Mary Poppins. “Well, is the wrong side the left side or is the wrong side the right side? Because I got out on the right side, so how can it be wrong?
You know C. S. Lewis, whom I greatly admire, said there’s no such thing as creative writing. I’ve always agreed with that and always refuse to teach it when given the opportunity. He said there is, in fact, only one Creator and we mix. That’s our function, to mix the elements He has given us. See how wonderfully anonymous that leaves us? You can’t say, “I did this; this gross matrix of flesh and blood and sinews and nerves did this.” What nonsense! I’m given these things to make a pattern out of. Something gave it to me. I’ve always loved the idea of the craftsman, the anonymous man. For instance, I’ve always wanted my books to be called the work of Anon, because Anon is my favorite literary character. If you look through an anthology of poems that go from the far past into the present time, you’ll see that all the poems signed “Anon” have a very specific flavor that is one flavor all the way through the centuries. I think, perhaps arrogantly, of myself as “Anon.” I would like to think that Mary Poppins and the other books could be called back to make that change. But I suppose it’s too late for that.
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And here it is worth while remembering, since we are discussing Not Writing for Children, that neither the Sleeping Beauty nor Rumpelstiltzkin was really written for children. In fact, none of the fundamental fairy stories was ever written at all. They all arose spontaneously from the folk and were transmitted orally from generation to generation to unlettered listeners of all ages.
...it is the smallest house in the Lane. And besides that, it is the only one that is rather dilapidated and needs a coat of paint. But Mr. Banks, who owns it, said to Mrs. Banks that she could have either a nice, clean, comfortable house or four children. But not both, for he couldn't afford it. And after Mrs. Banks had given the matter some consideration she came to the conclusion that she would rather have Jane...and Michael...and John and Barbara, who were Twins and came last. So it was settled...