Cat by Mike Dumbleton

Title:               Cat
Author:           Mike Dumbleton
Illustrator:       Craig Smith

BACKGROUND INFORMATION

Author:         
Mike Dumbleton wanted to write for a long time, but was always too busy travelling, playing sport and then helping his wife Linda with their three children, born close together
(including twins). He finally started writing in about 1986, and his first children's book, Dial-a-Croc, illustrated by Ann James, was published in 1991. Mike is the author of several educational texts and award-winning children's picture books. He also works full-time as an English teacher, exercises to keep fit, eats out, drinks wine, goes to movies and watches sport, sometimes on TV. Mike says, “It's hard to see where I find the time to write!” Five of Mike’s picture books have been selected as 'Notable Books' by the Children's Book Council of Australia. Passing On, illustrated by Terry Denton, was shortlisted for the CBCA 2002 Early Childhood Book of the Year Awards, and his picture book Muddled-up Farm, Illustrated by Jodi Murphy, was selected as the ‘National Simultaneous Storytime book for 2004’. In 2005 Mike received a Minister’s Award for Outstanding Contribution to Improving Literacy.

Illustrator:   
Craig Smith grew up in the Adelaide Hills. As a child he liked copying comic characters, but much preferred making contraptions in the shed and playing – especially football. Craig studied typography, design and photography at the South Australian School Of Art. His first picture book was Black Dog, written by Christobel Mattingley. He has been a freelance illustrator since 1976. For some years Craig had to supplement his income with different part times jobs – including washing dishes and scraping rust off the Sydney Harbour Bridge. He has illustrated over 300 books, posters and stamps, and has worked on television animation. Craig has illustrated book covers, fiction series, and picture books. His books include Where’s Mum? written by Libby Gleeson,  (Honour Book in the 1993 CBCA Picture Book of the Year Awards), Dreadful David, written by Sally Odgers, Billy the Punk, written by Jessica Carroll, (shortlisted in the 1996 CBCA Picture Book of the Year Awards).

SYNOPSIS
The words and pictures of Cat fit together perfectly. It’s the story of a day in the life of Cat. The story is set in Cat’s house and yard, with brief forays over neighbours’ fences. From morning to late afternoon Cat is out and about creating and avoiding mishaps. Following a series of funny and exciting adventures with Dog, Mouse, Sprinkler, Bird, Bike and Milk, Cat finds a safe warm place to curl up with a friend.

WRITING STYLE
Mike Dumbleton says, “Cat is a book which evolved from experimenting with words.”
The story is structured as a series of scenes or vignettes. The pattern for the text is established in the first scene, the confrontation between Cat and Dog. Two words, “Cat” “Dog”, set up a possible conflict; these two words are then reversed, “Dog” “Cat”, increasing the tension of the plot. Two new words reveal a solution, “Tall tree”. A relieved exclamation, “Thank goodness for that!” provides a humorous, satisfying conclusion. This is the first story of a sequential narrative, which follows Cat through a day. Mike Dumbleton says, “The idea of reversing the words cat and dog came first, as it does in the book, and I quickly saw the potential for a mixture of dramatic tension and comedy which could be developed in the visual text. I remember “holding my breath” and wondering if the reversals could be sustained for the length of a picture book. Fortunately it proved possible.” One variation to the two-word pattern occurs in the final scene, when cat settles on the mat, “Safe and warm”. This change of pace helps to create the gentle, satisfying conclusion. The appealing text, using rhythm, rhyme and repetition invites children to join in the telling, especially the expressive phrase, “Thank goodness for that!”

ILLUSTRATIONS  
Craig Smith says he “found the minimalist text hugely attractive”. At the same time it presented interesting challenges. He says, “It sort of gives huge scope to take the story this way or that way. But when you start to nail the story sequence it quickly presents problems and inconsistencies that later, when they are solved, don't look like problems at all!” Like, is Cat inside or outside, should Cat move left or right. Which fence goes

where? And how does Cat get from one property to another? Why is Cat oblivious to Bike?”  Keeping a very young audience in mind, Craig tried to keep the illustrations uncluttered and warm. He says, “The home is the embodiment of safe and warm”. He used gouache and pen and ink for the illustrations. The wash technique and the palette he uses are light, and warm. He welcomed the watery technique of the gouache, pen, and ink as a relief from “too much time doing illustrations on the computer!” One of Craig’s main enjoyments was “manipulating the body language of all the characters, hoping to make it expressive”.The story is delightfully extended by incorporating the endpapers and the title page into the narrative. The front endpaper, with bright early morning light, depicts the entire setting, sets the scene for later events, and introduces the characters. The back endpaper with the fading light of late afternoon, brings the day to a satisfying end. As Mike Dumbleton says of the illustrations, “Everything, from Cat’s ears and paw as he climbs the ladder on the title page, to the incredibly detailed end papers which establish the setting of the story, was just ‘purrfect’!”

DISCUSSION POINTS AND ACTIVITIES

• Play with the text. Read it aloud with expression and exclamation, “Oohs” and “Aahs!” “Oh Poor cat!” “Lucky mouse!”
• Look carefully at the endpapers and the title page. Talk about how these pictures help to establish and conclude the story. What do you find out about the sequence of events, the time of day, the characters and objects that appear in the story?
• Talk about the problems Craig Smith had to resolve when illustrating Cat (see notes on illustrator above). Talk about how he worked these out.
• Look at each illustration. Talk about how Craig Smith uses line, movement and colour to portray expressive body language and facial expression. Eg. How does he show Cat’s reaction to bird on top of the fence?
• Talk about what is happening in the background of the pictures. Follow the little girl through the story from the start to the finish. What is Grandpa doing?
• Talk about how the picture on each “Thank goodness for that” page sets up the next vignette.

• Talk about your own cats. Bring pictures and make a poster or collage.
• Tell each other funny, silly, or adventurous stories about your own cats. Make your stories into a collection of cat stories. Or make into a frieze with illustrations.
• Illustrate your own stories. Look at how Craig Smith has depicted Cat. Your cat may be just like Craig’s cat - or a different colour, not so furry, with patches instead of stripes, or any way you like.
• Use Mike Dumbleton’s idea of using single words and reversing them to create a story pattern, ending with “Thank goodness for that!”
• Dramatise the story of Cat. Dramatise the stories about your own cats.
• Make your own puppets of the characters in the story. Retell the story with the puppets
• Make collections of cat stories, songs and poems. Tell, read, sing and recite these.
• Find and share information books about cats. 
• Craig Smith says, “The framing - words and pics - of this book  was…  a genuine collaboration between author, editor and myself.” Collaborate with each other (teachers and children) on the development of your own stories, friezes, picture books.