Sonya Hartnett's "Thursday's Child" was published in Australia by Penguin Books in 2000. Editions are available in the UK (Walker Books, 2002), the USA (Candlewick, 2002), as well as in Canada, Germany, Italy, Norway, and Denmark. In 2002, the book was awarded the "Guardian's" Children's Fiction Prize in the UK. Like Harper, the narrator of the novel, Sonya Hartnett began to write early--her first book, "Trouble All the Way," was written when she was 13 and published 2 years later. It seems that adults read "Thursday's Child" and talk about it without any reference to young readers; we see it as one of those books you read and immediately look for someone to discuss it with. And then go back to the book to reread. It's one of those novels that, like many poems, offers multiple readings and the reader may be content to accept several of them. The UK editors of this journal wanted to bring this intriguing novel to the notice of readers who may not yet have discovered it, and, we felt sure, those who already knew the book would welcome two close readings to set alongside their own. We invited Judith Armstrong to begin the discussion. Then David Rudd, with the benefit of Judith's insights, adds his exploration of the novel. Between the two essays, we have included some comments, extracted from a taped conversation, of two 14-year-old readers. This article comprises two sustained responses to Sonya Hartnett's award-winning novel, "Thursday's Child." Both essays explore multiple readings of a complex and intriguing text. Set in the Great Depression in Australia, the novel is seen as at once realistic, mythic, and even fantastic. Judith Armstrong considers Tin, the subject of the title, as a feral child and examines his influence on the other members of his family. As he tunnels through the earth, so does the narrator Harper (Tin's older sister) "dig" with her pen. Their excavations leave both children forever marked by the bleak and sometimes violent events recorded in the book. David Rudd continues the discussion, finding Freud's exploration of the "uncanny" and J. M. Barrie's character, Peter Pan, illuminating in his reading of the novel. He also asks how far Harper can be trusted as narrator: can we even be certain that her brother survived a mudslide that occurred early in the story?