'Oh, drat!' said the tiniest voice in the world,"" introducing both Ellie and the reader to ""homebody"" King Borra Borra who has come to squat in Ellie's doll house and await sporadic visits from his more adventurous Queen, who (reversing but hardly improving the traditional marriage pattern) is usually off mouseback riding or snorkeling in a puddle. There is no hint of what this homeless pair is King and Queen of, but Ellie is delighted to have them and to help the King provide for their eleven children whom she names the peanut butter babies because that's all they eat. Ellie's mother, a writer, is of course unaware of the visitors but keeps toying with the idea of writing a story about tiny people who live in a dollhouse -- and that little touch is typical of the whole. A cliche in conception and manner despite the play for feminist approval.