Review
“Majestic . . . Dazzling . . . Wonderful . . . . What you see here . . . is the strength and fire of Byatt’s imagination.” —The San Francisco Chronicle
“Bristling with life and invention. . . . A seductive work by an extraordinarily gifted writer.” —The Washington Post
“[Byatt’s] magnum opus. . . . Lushly detailed. . . . Every stitch of this tapestry is connected to the whole.” —The Seattle Times
“[A] masterpiece. . . . Her best yet.” —Newsday
“[A] ravishing epic. . . . This is a classic Byatt fusion of fact and uncannily luscious imagery, mixed in the ideal proportions: not too hot, not too cold—just right.” —Salon
“A stunning achievement: a novel of ideas that crackles with passion, energy and emotive force. . . . I did not want The Children’s Book to end . . . I wanted more of this ambitious, compelling novel, certainly Byatt’s best since Possession, and possibly her best ever.” —Patricia Hagen, Minneapolis Star Tribune
“Unforgettable. . . . Eloquent. . . . Majestic and immensely ambitious . . . with masterly skill and literary tact. . . . A monument of a novel.” —The New York Review of Books
“Supremely fulfilling . . . wondrous . . . rich with period detail and sublime storytelling. . . . A mesmerizing exploration of, well, everything: families, secrets, love, innocence, corruption, art, the desire for knowledge, nature, politics, war, sex, power. Even puppetry.” —The Miami Herald
“Spellbinding. . . . Alive . . . Potent. . . . Byatt is a master storyteller.” —O, The Oprah Magazine
“Sweeping. . . . A literary feast. . . . Byatt fills a huge canvas with the ...
About the Author
A.S. Byatt is internationally acclaimed as a novelist, short-story writer and critic. Her books include Possession and the quartet of The Virgin in the Garden, Still Life, Babel Tower and A Whistling Woman. She was appointed Dame of the British Empire in 1999.
From the Hardcover edition.
From The Washington Post
From The Washington Post's Book World/washingtonpost.com Reviewed by Keith Donohue In 1990, A.S. Byatt received the Booker Prize for "Possession," a postmodern masterpiece that is, in part, a historical romance set in the late Victorian era. "The Children's Book," her brilliant new novel, which has a good chance of winning the 2009 Booker Prize on Tuesday evening, takes a jump forward to fin de siècle Europe, from the end of the Victorian era to the beginning of the modern age. Bristling with life and invention, it is a seductive work by an extraordinarily gifted writer. Set primarily in the downs and marshes of the Kent countryside and the southeastern coast at Dungeness, the story also flings characters to London, Paris, Munich, the Italian Alps and the battlefields of Europe, where real historical figures such as J.M. Barrie and Emma Goldman mix with invented characters including layabout students, Fabian socialists, potters, puppeteers, randy novelists and poets in the trenches of France. In its encyclopedic form, "The Children's Book" is a kind of anatomy of the age in which the young men and women of the Edwardian era were confronted by a rapidly changing society and the grim reality of the Great War. But more compelling than the social and political history is the domestic drama among the dozen or more characters that Byatt draws in vivid detail. The novel spirals out from the families and social circle of the young writer Olive Wellwood, her sister Violet and husband, Humphry. They live in a charmed home in the countryside with their seven children, though we follow most closely the older two, Tom, who is a sort of "lost" child more at home in the woods, and his more practical and determined sister Dorothy. Olive is a famous writer of children's books, in the golden age of fiction about children, inventing fairy tales drawn from her reading of folk tales and fantasy, observation of her children's lives, the magic of the Kent landscape and pieces of her own childhood. After her husband resigns his position with a bank, Olive becomes the chief breadwinner for the family. In addition to her published work, she creates for each child a private story, bound in a special journal. Byatt describes several of those books, but she unlocks the one for Tom, Olive's oldest son, with devastating effect. The story -- about a boy who loses his shadow and must search for it underground -- closely mirrors Tom's internal and psychological life. When she mines her son's story for a new play, "Tom Underground," a darker take on the motifs of Peter Pan, her son becomes truly lost. When asked by a journalist to explain the private children's books, Olive says: " 'Well, I sometimes feel, stories are the inner life of this house. A kind of spinning of energy. I am this spinning fairy in the attic, I am Mother Goose quacking away what sounds like comforting chatter but is really -- is really what holds it all together.' She gave a little laugh, and said 'Well, it makes money, it does hold it all together.' " This story about the nature of art and commerce and the private influences on public performance is at the core of the book, but it is only one of several interlinked story lines. Behind the public story of Olive and Humphry's marriage is a series of private indiscretions, including some revelations as startling as those in Byatt's novella "Angels and Insects." On the surface, middle-class Victorian and Edwardian England may have been obsessed with appearances and propriety, but as with every age, all-too-human desires lurk just underground. Secret passions electrify the stories of the other families, too, in this multilayered novel. There's an investment banker and his German wife and their anarchist son; the mercurial Arts and Crafts ceramicist Benedict Fludd and his addled family; and a widowed military man whose Cambridge Apostle son is struggling with his homosexuality. Add to this heady mix a true lost boy who escaped from a pottery factory and is discovered hiding below the Victoria and Albert Museum. All those characters connect in a tangled web, often erotic and frequently just this side of madness. Through these complex personal tales, Byatt shows the aesthetics of the age, which, in response to the tremendous changes wrought by the rise of industrialism, emphasized the work of individual craftsmen. "The Children's Book" holds a mirror to the new middle class during an era of growing appreciation for children and greater sexual freedom for women and for the love that dares not speak its name. That Byatt marries this novel of ideas with such compelling characters testifies to her remarkable spinning energy.
Copyright 2009, The Washington Post. All Rights Reserved.
Excerpt. © Reprinted by permission. All rights reserved.
Two boys stood in the Prince Consort Gallery, and looked down on a third. It was June 19th, 1895. The Prince had died in 1861, and had seen only the beginnings of his ambitious project for a gathering of museums in which the British craftsmen could study the best examples of design. His portrait, modest and medalled,was done inmosaic in the tympanum of a decorative arch at one end of the narrowgallery which ran above the space of the South Court. The South Court was decorated with further mosaics, portraits of painters, sculptors, potters, the "Kensington Valhalla." The third boy was squatting beside one of a series of imposing glass cases displaying gold and silver treasures. Tom, the younger of the two looking down, thought of Snow White in her glass coffin. He thought also, looking up at Albert, that the vessels and spoons and caskets, gleaming in the liquid light under the glass, were like a resurrected kingly burial hoard. (Which, indeed, some of them were.) They could not see the other boy clearly, because he was on the far side of a case. He appeared to be sketching its contents.
Julian Cain was at home in the South Kensington Museum. His father, Major Prosper Cain, was Special Keeper of Precious Metals.
Julian was just fifteen, and a boarder at Marlowe School, but was home recovering from a nasty bout of jaundice. He was neither tall nor short, slightly built, with a sharp face and a sallow complexion, even without the jaundice. He wore his straight black hair parted in the centre, and was dressed in a school suit. Tom Wellwood, boyish in Norfolk jacket and breeches, was about two years younger, and looked younger than he was, with large dark eyes, a soft mouth and a smooth head of dark gold hair. The two had not met before. Tom's mother was visiting Julian's father, to ask for help with her research. She was a successful authoress of magical tales. Julian had been deputed to show Tom the treasures. He appeared to be more interested in showing him the squatting boy.
"I said I'd show you a mystery."
"I thought you meant one of the treasures."
"No, I meant him. There's something shifty about him. I've been keeping an eye on him. He's up to something."
Tom was not sure whether this was the sort of make-believe his own family practised, tracking complete strangers and inventing stories about them. He wasn't sure if Julian was, so to speak, playing at being responsible.
"What does he do?"
"He does the Indian rope trick. He disappears. Now you see him, now you don't. He's here every day. All by himself. But you can't see where or when he goes."
They sidled along the wrought-iron gallery, which was hung with thick red velvet curtains. The third boy stayed where he was, drawing intently. Then he moved his position, to see from another angle. He was hay-haired, shaggy and filthy. He had cut-down workmen's trousers, with braces, over a flannel shirt the colour of smoke, stained with soot. Julian said
"We could go down and stalk him. There are all sorts of odd things about him. He looks very rough. He never seems to go anywhere but here. I've waited at the exit to see him leave, and follow him, and he doesn't seem to leave. He seems to be a permanent fixture."
The boy looked up, briefly, his grimy face creased in a frown. Tom said
"He concentrates."
"He never talks to anyone that I can see. Now and then the art students look at his drawings. But he doesn't chat to them. He just creeps about the place. It's sinister."
"Do you get many robberies?"
"My father always says the keepers are criminally casual with the keys to the cases. And there are heaps and heaps of stuff lying around waiting to be catalogued, or sent to Bethnal Green. It would be terribly easy to sneak off with things. I don't even know if anyone would notice if you did, not with some of the things, though they'd notice quickly enough if anyone made an attempt on the Candlestick."
"Candlestick?"
"The Gloucester Candlestick. What he seems to be drawing, a lot of the time. The lump of gold, in the centre of that case. It's ancient and unique. I'll show it to you. We could go down, and go up to it, and disturb him." Tom was dubious about this. There was something tense about the third boy, a tough prepared energy he didn't even realise he'd noticed.
However, he agreed. He usually agreed to things. They moved, sleuthlike, from ambush to ambush behind the swags of velvet. They went under Prince Albert, out onto the turning stone stairs, down to the South Court. When they reached the Candlestick, the dirty boy was not there.
"He wasn't on the stairs," said Julian, obsessed.
Tom stopped to stare at the Candlestick. It was dully gold. It seemed heavy. It stood on three feet, each of which was a long-eared dragon, grasping a bone with grim claws, gnawing with sharp teeth. The rim of the spiked cup that held the candle was also supported by open-jawed dragons with wings and snaking tails. The whole of its thick stem was wrought of fantastic foliage, amongst which men and monsters, centaurs and monkeys, writhed, grinned, grimaced, grasped and stabbed at each other. A helmeted, gnomelike being, with huge eyes, grappled the sinuous tail of a reptile. There were other human or kobold figures, one
in particular with long draggling hair and a mournful gaze. Tom thought immediately that hismotherwould need to see it. He tried, and failed, to memorise the shapes. Julian explained. It had an interesting history, he said. No one knew exactly what it was made of. It was some kind of gilt alloy. Itwas probable that it had been made in Canterbury—modelled in wax and cast—but apart from the symbols of the evangelists on the knop, it appeared not to be made for a religious use. It had turned up in the cathedral in Le Mans, from where it had disappeared during the French Revolution. A French antiquary had sold it to the Russian Prince Soltikoff. The South KensingtonMuseum had acquired it from his collection in 1861. There was nothing, anywhere, like it.
Tom did not know what a knop was, and did not know what the symbols of the evangelists were. But he saw that the thing was a whole world of secret stories. He said his mother would like to see it. It might be just what she was looking for. He would have liked to touch the heads of the dragons.
Julian was looking restlessly around him. There was a concealed door, behind a plaster cast of a guarding knight, on a marble plinth. It was slightly ajar, which he had never seen before. He had tried its handle, and it was always, as it should be, since it led down to the basement storerooms and workrooms, locked.
"I bet he went down there."
"What's down there?"
"Miles and miles of passages and cupboards and cellars, and things being moulded, or cleaned, or just kept. Let's stalk him."
There was no light, beyond what was cast on the upper steps from the door they had opened. Tom did not like the dark. He did not like transgression. He said "We can't see where we're going."
"We'll leave the door open a crack."
"Someone may come and lock it. We may get into trouble."
"We won't. I live here."
They crept down the uneven stone steps, holding a thin iron rail. At the foot of the staircase they found themselves cut off by a metal grille, beyond which stretched a long corridor, now vaguely visible as though there was a light-source at the other end. The passage was roofed with Gothic vaulting, like a church crypt, but finished in white glazed industrial bricks. Julian gave the grille an irritated shake and it swung open. He observed that this, too, should have been locked. Someone was in for trouble.
The passage opened into a dusty vault, crammed with a crowd of white effigies, men, women and children, staring out with sightless eyes. Tom thought they might be prisoners in the underworld, or even the damned. They were closely packed; the boys had to worm their way between them. Beyond this funereal chamber, two corridors branched. There was more light to the left, so they went that way, negotiated another unlocked grille, and found themselves in a treasure-house of vast gold and silver vessels, croziers, eagle-winged lecterns, fountains, soaring angels and grinning cherubs. "Electrotypes," whispered the knowledgeable Julian. A faint but steady light rippled over the metal, through little glass roundels let into the brickwork. Julian put his finger
to his lips and hissed to Tom to keep still. Tom steadied himself against a silver galleon, which clanged. He sneezed.
"Don't do that."
"I can't help it. It's the dust."
They crept on, took a left, took a right, had to force their way between thickets of what Tom thought were tomb railings, surmounted by jaunty female angel-busts,with wings and pointed breasts. Julian said they were cast-iron radiator covers, commissioned from an ironmaster in Sheffield. "Cost a packet, down here because someone thought they were obtrusive," he whispered. "Which way now?"
Tom said he had no idea. Julian said they were lost, no one would find them, rats would pick their bones. Someone sneezed. Julian said
"I told you, don't do that."
"I didn't. It must have been him."
Tom was worried about hunting down a probably harmless and innocent boy. He was also worried about encountering a savage and
dangerous boy.
Julian cried "We knowyou're there. Come out and give yourself up!"
He was alert and smiling, Tom saw, the successful seeker or catcher in games of pursuit.
There was a silence. Another sneeze. A slight scuffling. Julian and
Tom turned to look down the other fork of the corridor, which was obstructed by a forest of imitation marble pillars, made to support busts or vases. A wild face, under a mat of hair, appeared at knee height, framed between fake basalt and fake obsidian.
"You'd better come out and explain yourself," said Julian, with complete certainty. "You're trespassing. I should get the police."
The third boy came out on all fours, shook himself like a beast, and stood up, supporting himself briefly on the pillars. He was about Julian's height. He was shaking, whether with fear or wrath Tom could not tell. He pushed a dirty hand across his face, rubbing his eyes, which even in the gloom could be seen to be red-rimmed. He put his head down, and tensed. Tom saw the thought go through him, he could charge the two of them, head-butt them and flee down the corridors. He didn't move and didn't answer.
"What are you doing down here?" Julian insisted.
"I were hiding."
"Why? Hiding from who?"
"Just hiding. I were doing no harm. I move carefully. I don't disturb things."
"What's your name? Where do you live?"
"My name's Philip. Philip Warren. I suppose I live here. At present."
His voice was vaguely north country.Tomrecognised it, but couldn't place it. He was looking at them much as they were looking at him, as though he couldn't quite grasp that they were real. He blinked, and a tremor ran through him. Tom said
"You were drawing the Candlestick. Is that what you came for?"
"Aye."
He was clutching a kind of canvas satchel against his chest, which presumably contained his sketching materials. Tom said
"It's an amazing thing, isn't it? I hadn't seen it before."
The other boy looked him in the eye, then, with a flicker of a grin.
"Aye. Amazing, it is."
Julian spoke severely.
"You must come and explain yourself to my father."
"Oh, your father. Who's he, then?"
"He's Special Keeper of Precious Metals."
"Oh. I see."
"You must come along with us."
"I see I must. Can I get my things?"
"Things?" Julian sounded doubtful for the first time. "You mean, you've been living down here?"
"S'what I said. I got nowhere else to go. I'd rather not sleep on t'streets. I come here to draw. I saw the Museum was for workingmen to see well-made things. I mean to get work, I do, and I need drawings to show . . . I like these things."
"Can we see the drawings?" asked Tom.
"Not in this light. Upstairs, if you're interested. I'll get my things, like I said."
He ducked, and began to make his way back amongst the pillars, crouching and weaving expertly. Tom was put in mind of dwarves in mine-workings, and, since his upbringing was socially conscientious, of children in mines, pulling trucks on hands and knees. Julian was on Philip's heels. Tom followed.
"Come in," said the grimy boy, at the opening of a small storeroom, making a welcoming gesture, possibly mocking, with an arm. The storeroom contained what appeared to be a small stone hut, carved and ornamented with cherubim and seraphim, eagles and doves, acanthus and vines. It had its own little metal gate, with traces of gilding on the rusting iron.
"Convenient," said Philip. "It has a stone bed. I took the liberty of borrowing some sacks to keep warm. I'll put 'em back, naturally, where I found them."
"It's a tomb or shrine," said Julian. "Russian, by the look of it. There must have been some saint on that table, in a glass case or a reliquary.
He might still be in there, underneath, his bones that is, if he wasn't incorrupt."
"I haven't noticed him," said Philip, flatly. "He hasn't bothered me."
Tom said "Are you hungry? What do you eat?"
"Once or twice I got to help in the tea-room, moving plates and washing them. People leave a lot on their plates, you'd be surprised. And the young ladies from the Art School took notice of my drawings and sometimes they passed me a sandwich. I don't beg. I did steal one, once, when I was desperate, an egg-and-cress sandwich. I were pretty sure the
young lady had no intention of eating it."
He paused.
"It isn't much," he said. "I'm hungry, yes."
He was rummaging behind the tomb in the shrine, and came out with another canvas satchel, a sketch-book, a candle stub and what looked like a roll of clothing, tied with string.
"How did you get in?" Julian persisted.
"Followed the horses and carts. You know, they turn in and drive down a ramp into these underground parts. And they unload and pack things with a deal of bustle, and it's easy enough to mingle wi' them, wi' the carters and lads, and get in."
"And the upstairs door?" Julian queried. "Which is meant to be locked at all times."
"I came across a little key."
"Came across?"
"Aye. Came across. I'll give it back. Here, take it."
Tom said
"It must be horribly frightening, down here alone at night."
"Not near so frightening as t'streets in t'East End. Not near."
Julian said "Please come with me now. You must come and explain all this to my father. He's talking to Tom's mother. This is Tom. Tom Wellwood. I'm Julian Cain."
From the Hardcover edition.
With Rosalyn Landor's superb reading of Byatt's novel, set in the years from 1895 to the end of WWI, listeners become completely absorbed in the lives of the large Wellwood family. The story is centered on the mother, Olive, a celebrated author of children's fantasies. Landor meets the challenge of delivering this lengthy novel, which interweaves multiple elements: the story of the Wellwoods' complex relationships with other families in the Kent countryside, the stories Olive has written for children, and extensive passages providing artistic, intellectual, social, and political details of the era. Landor narrates with a mellow tone and an unhurried tempo, and gives each character a distinct voice. A better pairing of narrator and novel can't be imagined. Audio is the perfect format for this finalist for the 2009 Man Booker Prize. C.R.A. Winner of AudioFile Earphones Award © AudioFile 2009, Portland, Maine
