Stephen Mansfield

The greatest hurts you can endure or inflict on another are often in connection with siblings. The expectation of intimacy and potential for damage is obviously amplified when dealing with twins. As the father of two-year-old twin boys, I read this book with some trepidation.

Since the publication of Frank Moorhouse’s The Americans, Baby (1972), Australian literature has maintained a tense awareness of its powerful neighbour’s cultural sway over younger generations. Even the ‘Oz as’ Young Adult titles (think of Tim Winton’s Lockie Leonard series) concede, by studious omission, the impact of American cultural hegemony on the teenage imagination in Australia.

The way nostalgia works, according to theorists, is that we pine for the era just before our own. This may be why the twenty-something musicians of today mine the sounds of the 1980s. But does this pattern succeed in Young Adult fiction? What does an author gain by setting his or her story in the ‘nostalgia zone’ of potential readers?

Siblings tend to play little part in family memoirs that focus on parents. Most memoirists write as if they are only children. Perhaps this is unsurprising; siblings’ memories of childhood rarely correspond. As Robert Gray observes in his autobiography The Land I Came Through Last (2008), ‘the one in the family who is going to be a writer is always an only child’.

The first book I ever properly owned – pored over, slept with, inscribed – was an elaborately illustrated hardback copy of J.R.R. Tolkien’s The Hobbit. One can imagine the producers of the attractively packaged Tollins: Explosive Tales for Children hoping it might assume similar significance for a contemporary seven-year-old boy. Conn Iggulden’s secret and quirky world of the Tollins involves old, greybearded men, intricate maps and plenty of adventures and derring-do by the book’s unlikely hero, Sparkler.

A certain sub-genre of Young Adult fiction thrives on the psychology of duress – on the useful friction yielded by placing a young heroine in a near-impossible situation and asking the reader: ‘What would you do? How would you cope?’ Two recently released, formidable début novels have utilised this formula, with some impressive results.