Goldilocks on CCTV

By John Agard; Satoshi Kitamura (Illustrator)
(Frances Lincoln Children's Books, Hardcover, 9781847801838, 64pp.)

Publication Date: June 2012

Other Editions of This Title: Paperback

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Description

There she was on the news,
Miss Goody Two-Shoes,
Caught on CCTV.

Don't look so shocked!
Of course you know who -
Who else but Goldilocks?

Poor Goldilocks, caught on camera breaking into a house of suburban grizzlies; Pumpkin Biker Cinderella; two ugly sisters with attitude; Puss-in-Trainers, a feline with a feel for the cool; the Giant with a mobile phone…. Not to mention the Bad Hair Day Fairy, the teenage princess who wants a tattoo and the Dwarf Rap.

Here are 30 amazing poems which are rooted in the world of fairy tale and legend. Wickedly witty, deliciously subversive and utterly modern, the poems are also affectionate and big-hearted tributes to the original tales and characters that inspired them. This is a sizzling new collection from a master poet, brought explosively to life by Satoshi Kitamura's extraordinary black-and-white illustrations.




About the Author

John Agard is one of the most popular poets writing in Britain today. He was the winner of the Paul Hamlyn Award for Poetry in 1997. His collection of poetry for young children, We Animals Would Like A Word With You was shortlisted for the Smarties Prize. He is the author of many children's books, including The Young Inferno for Frances Lincoln. He lives in Lewes, West Sussex.
Satoshi Kitamura was born in Tokyo and has always loved reading comics and illustrated novels. With no formal training, he started work in advertising as an artist and came to London. He has written and illustrated 20 of his own books and illustrated many more, as well as translating children's books into Japanese. He exhibits his work in London and has won a number of awards. He lives in London and Japan.




Praise For Goldilocks on CCTV

Praise for The Young Inferno:
"Kitamura's black-and-white drawings take on a new freedom and ferocity . . . the line is more authoritative and emphatic than ever, excitingly varied in tone and texture, responding to every nuance of Agard's text." — The Guardian

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