The Little White Horse is a classic of children's literature, written in the 1940s by Elizabeth Goudge. First published in 1946. The events of the novel begin in 1842.
After her father dies in debt, Maria Merryweather and her governess Miss Heliotrope go to live at Moonacre Manor with Maria's uncle Benjamin.
While there, Maria learns all about her family's history, and discovers that she is the last in a long line of Moon Princesses, and that it is her destiny to reunite her family with the evil De Noirs.
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Has been adapted into both a live TV series, Moonacre, and a movie, The Secret of Moonacre. The latter was directed by Gabor Csupo of Bridge to Terabithia fame, and while it is an enjoyable movie in its own right, it plays up the more overt fantasy elements of the book with Maria now having to force the two families together, before the 5000th moon since the curse was laid upon the family destroys Moonacre Valley. It also eliminates any reference to Old Parson (or the surrounding village) and re-tools the character of Robin into being the Big Bad's son. Oh, and it has Tim Curry as the Big Bad, Coeur de Noir.
Tropes used in The Little White Horse include:
- Adaptational Attractiveness: In the book, Sir Benjamin Merriweather is described as fat, bowlegged, and past his prime. In its film adaptation, he's played by the lean, sinewy Ioan Gruffudd, who's also considerably younger than the character.
- Adaptation Distillation: Basically, Gabor Csupo took the book's characters, and went off and did his own thing.
- To be fair, however, the original book really doesn't lend itself that well to a cinematic adaptation.
- Badass Preacher: Old Parson. Admitedly, he's only badass in the context of the book, but it's enough.
- Color-Coded for Your Convenience: The De Noirs wear black, and are seen as villians. Admitedly, this does have a plot related reason in the book, but is just this trope in the movie.
- Ephebophile: Played with in the film. The romantic relationship present in the original book (which is not an example of this trope since the characters were around the same age) is downplayed to some hinting, but it's enough to come off as a little squick when one considers that the actor playing Maria was 14 during filming and the actor playing Robin was 21.
- Costume Porn / Scenery Porn: One cannot deny that the costume and art design are simply stunning.
- Happy Ending: The ending of the movie.
- Heartwarming Orphan: Maria is this, transforming her uncle (in the movie), and even reconciling him with his true love
- Heel Face Turn: Robin in the movie. Actually fairly easily, but it can be put down to him knowing the legend, and not wanting to to come true. Though a frankly awesome parody suggests another reason...
- Identical Grandson: The actors playing Benjamin, Loveday and Coeur de Noir all show up as their ancestors.
- Parasol of Pain: Miss Heliotrope has one. Subverted slightly in that it's only shown to be a minor distraction (albeit one that helps greatly, as the movie's already over by this point and all that's needed is for the villain to see sense.)
- Punctuated! For! Emphasis!: "There is only one thing that can save us now. Classical. French. Needlepoint!"
- Redheaded Hero: Maria
- Sesquipedalian Loquaciousness: Marmaduke Scarlet speaks like this. He's a guy who works in a kitchen.
- Shipper on Deck: Maria for Benjamin and Loveday. Loveday for Maria and Robin.
- Weird Moon: The movie has a continuously-full moon that gets larger and larger as the movie goes on. It's an actual plot point, as the moon will destroy the earth unless Maria gives back the moon jewels.
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| 1936–1950 |
- 1936: Pigeon Post (Arthur Ransome)
- 1937: The Family from One End Street (Eve Garnett)
- 1938: The Circus Is Coming (Noel Streatfeild)
- 1939: The Radium Woman (Eleanor Doorly)
- 1940: Visitors from London (Kitty Barne)
- 1941: We Couldn't Leave Dinah (Mary Treadgold)
- 1942: The Little Grey Men (BB (D. J. Watkins-Pitchford))
- 1943: No Award
- 1944: The Wind on the Moon (Eric Linklater)
- 1945: No Award
- 1946: (Elizabeth Goudge)
- 1947: Collected Stories for Children (Walter de la Mare)
- 1948: Sea Change (Richard Armstrong)
- 1949: The Story of Your Home (Agnes Allen)
- 1950: The Lark on the Wing (Elfrida Vipont)
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| 1951–1975 |
- 1951: The Wool-Pack (Cynthia Harnett)
- 1952: The Borrowers (Mary Norton)
- 1953: A Valley Grows Up (Edward Osmond)
- 1954: Knight Crusader (Ronald Welch (Felton Ronald Oliver))
- 1955: The Little Bookroom (Eleanor Farjeon)
- 1956: The Last Battle (C. S. Lewis)
- 1957: A Grass Rope (William Mayne)
- 1958: Tom's Midnight Garden (Philippa Pearce)
- 1959: The Lantern Bearers (Rosemary Sutcliff)
- 1960: The Making of Man (Ian Wolfran Cornwall)
- 1961: A Stranger at Green Knowe (Lucy M. Boston)
- 1962: The Twelve and the Genii (Pauline Clarke)
- 1963: Time of Trial (Hester Burton)
- 1964: Nordy Bank (Sheena Porter)
- 1965: The Grange at High Force (Philip Turner)
- 1966: No Award
- 1967: The Owl Service (Alan Garner)
- 1968: The Moon in the Cloud (Rosemary Harris)
- 1969: The Edge of the Cloud (K. M. Peyton)
- 1970: The God Beneath the Sea (Leon Garfield and Edward Blishen)
- 1971: Josh (Ivan Southall)
- 1972: Watership Down (Richard Adams)
- 1973: The Ghost of Thomas Kempe (Penelope Lively)
- 1974: The Stronghold (Mollie Hunter)
- 1975: The Machine Gunners (Robert Westall)
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| 1976–2000 |
- 1976: Thunder and Lightnings (Jan Mark)
- 1977: The Turbulent Term of Tyke Tiler (Gene Kemp)
- 1978: The Exeter Blitz (David Rees)
- 1979: Tulku (Peter Dickinson)
- 1980: City of Gold and other stories from the Old Testament (Peter Dickinson)
- 1981: The Scarecrows (Robert Westall)
- 1982: The Haunting (Margaret Mahy)
- 1983: Handles (Jan Mark)
- 1984: The Changeover (Margaret Mahy)
- 1985: Storm (Kevin Crossley-Holland)
- 1986: Granny Was a Buffer Girl (Berlie Doherty)
- 1987: The Ghost Drum (Susan Price)
- 1988: A Pack of Lies (Geraldine McCaughrean)
- 1989: Goggle-Eyes (Anne Fine)
- 1990: Wolf (Gillian Cross)
- 1991: Dear Nobody (Berlie Doherty)
- 1992: Flour Babies (Anne Fine)
- 1993: Stone Cold (Robert Swindells)
- 1994: Whispers in the Graveyard (Theresa Breslin)
- 1995: Northern Lights (Philip Pullman)
- 1996: Junk (Melvin Burgess)
- 1997: River Boy (Tim Bowler)
- 1998: Skellig (David Almond)
- 1999: Postcards from No Man's Land (Aidan Chambers)
- 2000: The Other Side of Truth (Beverley Naidoo)
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| 2001–2025 |
- 2001: The Amazing Maurice and his Educated Rodents (Terry Pratchett)
- 2002: Ruby Holler (Sharon Creech)
- 2003: A Gathering Light (Jennifer Donnelly)
- 2004: Millions (Frank Cottrell Boyce)
- 2005: Tamar (Mal Peet)
- 2007: Just in Case (Meg Rosoff)
- 2008: Here Lies Arthur (Philip Reeve)
- 2009: Bog Child (Siobhan Dowd)
- 2010: The Graveyard Book (Neil Gaiman)
- 2011: Monsters of Men (Patrick Ness)
- 2012: A Monster Calls (Patrick Ness)
- 2013: Maggot Moon (Sally Gardner)
- 2014: The Bunker Diary (Kevin Brooks)
- 2015: Buffalo Soldier (Tanya Landman)
- 2016: One (Sarah Crossan)
- 2017: Salt to the Sea (Ruta Sepetys)
- 2018: Where the World Ends (Geraldine McCaughrean)
- 2019: The Poet X (Elizabeth Acevedo)
- 2020: Lark (Anthony McGowan)
- 2021: Look Both Ways (Jason Reynolds)
- 2022: October, October (Katya Balen)
- 2023: The Blue Book of Nebo (Manon Steffan Ros)
- 2024: The Boy Lost in the Maze (Joseph Coelho)
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The award date is the year of publication before 2006, the year of presentation after 2006. Thus, there is no entry for 2006. |