I was offered the job-freelance, during my off-hours-of typing two of the manuscripts into Microsoft Word. These were the editions with the Diane Goode covers like the one pictured above.Īll we had to work with were out-of-print editions from the archives. During the year I spent at Random House after grad school, my boss, the brilliant Stephanie Spinner, was in charge of bringing the three Shoes books mentioned above back into print. The cover at left is from the mid-90s reissue, which is when I was introduced to Streatfeild’s work.
Party Shoes, for example, is still on my TBR list.) (An extremely prolific author, she wrote a great many books about other subjects, but the only Streatfeild works I’ve read are her “Shoes” books-and not even all of those. Streatfeild’s writing is delicious and occupies a unique niche in children’s literature: the behind-the-scenes lives of children in the performing arts, in London, in the mid-20th century. I haven’t started yet, but I’m so in the mood. It didn’t matter which, because it turned out what I was really wanting was to reread all the novels myself. At the time I couldn’t remember whether the event I was recalling happened in Dancing Shoes or Ballet Shoes, or possibly even Theater Shoes. The other day I asked Jane to hunt up our copy of Noel Streatfeild’s Dancing Shoes for Beanie in relation to something we were discussing.
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