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By Lydia Syson

An epic romance set opposed to the backdrop of the Spanish Civil War50% Epic Romance, 25% historic, 25% DramaSpain, 1936. Felix, a lively younger nurse, has travelled to Spain to assist the reason for the Republicans within the Spanish Civil struggle. yet she can be following Nat, a passionate younger guy who has joined the foreign Brigades combating Franco. And George—familiar George from home—is no longer some distance in the back of, in pursuit of Felix ...As Spain fights for its freedom opposed to tyranny, Felix battles a clash of the center. With the civil struggle raging round her, Felix needs to make offerings that might switch her lifestyles ceaselessly. An epic and relocating historic event from debut writer Lydia Syson.

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Second, there is the question of what the different styles afford in terms of depiction of affect. Welch (2005) explains that whereas the minimalist style is more iconic and stylised, focusing on un/happiness, the generic style is more detailed, with the brush or pencil stroke based on the musculature of the human face. This allows the mouth in particular to be more expressive, with corners that can be pressed, pursed, pouted or tightened towards the teeth. The emotional repertoire is therefore extended with more ‘behavioural’ emotions enabled; that is, those associated with watching, doing and concentrating, which draw on an increased potential for variation in ‘vigour’.

The book does not convey a simple injunctive message of ‘go fishing with your dad’ but invites reflection on the potential for both affection and strain in intergenerational male relationships between differing personalities, and the bonding effects of experiencing shared difficulties. 2. The tendency for the minimalist depiction to be favoured for younger readers and the more naturalistic for older ones 6. See Tian (2011) for a discussion of variation in style within a single text by Anthony Browne.

Most people will agree that a picture book filled with bright light colours has a very different effect on our feelings from one featuring dark sombre tones and different again from one printed only in black and white. These differences do not depend on scrutiny of the content of the images or knowledge of the events of the story being told, but are a more visceral response to the colour choices. We can draw an analogy here with the use of colour within three dimensional spaces to create an ‘ambience’ or emotional mood (Stenglin, 2004) and regard the use of colour in picture books, especially in the depiction of the setting in which characters are placed, as functioning in a comparable way.

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