'For Vân Uoc Phan, fantasies fell into two categories: nourishing, or pointless. Daydreaming about Billy Gardiner, for example? Pointless. It always left her feeling sick, as though she'd eaten too much sugar.
'Vân Uoc doesn't believe in fairies, zombies, vampires, Father Christmas - or magic wishes. She believes in keeping a low profile: real life will start when school finishes.
'But when she attracts the attention of Billy Gardiner, she finds herself in an unwelcome spotlight.
'Not even Jane Eyre can help her now.
'Wishes were not a thing.
'They were not.
'Correction.
'Wishes were a thing.
'Wishes that came true were sometimes a thing.
'Wishes that came true because of magic were not a thing!
'Were they?'
Source: Publisher's blurb.
'In 2018 there seems to be a renaissance of Asian-Australian content in theatre, TV and literature. With the success and high profile of individuals such as Benjamin Law and Alice Pung, and with a diversity of offerings across mainstream platforms, it seems that there’s never been a better time for Asian-Australian representation.' (Introduction)
'There is a paradox in Australian children's literature and it is this: in an age where the young are attached to the very digital devices predicted to crucify the printed book, children's book publishing is in robust health. Not surviving but thriving.'
'Children's book sales have been on the rise on the back of vibrant stories from Mem Fox, Jackie French and Bob Graham and many others. ...'
'There is a paradox in Australian children's literature and it is this: in an age where the young are attached to the very digital devices predicted to crucify the printed book, children's book publishing is in robust health. Not surviving but thriving.'
'Children's book sales have been on the rise on the back of vibrant stories from Mem Fox, Jackie French and Bob Graham and many others. ...'
'In 2018 there seems to be a renaissance of Asian-Australian content in theatre, TV and literature. With the success and high profile of individuals such as Benjamin Law and Alice Pung, and with a diversity of offerings across mainstream platforms, it seems that there’s never been a better time for Asian-Australian representation.' (Introduction)
