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From the bestselling author of The Egyptologist and Prague comes an even more accomplished and entirely surprising new novel. Angelica is a spellbinding Victorian ghost story, an intriguing literary and psychological puzzle, and a meditation on marriage, childhood, memory, and fear.

The novel opens in London, in the 1880s, with the Barton household on the brink of collapse. Mother, father, and daughter provoke one another, consciously and ...
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From the bestselling author of The Egyptologist and Prague comes an even more accomplished and entirely surprising new novel. Angelica is a spellbinding Victorian ghost story, an intriguing literary and psychological puzzle, and a meditation on marriage, childhood, memory, and fear.

The novel opens in London, in the 1880s, with the Barton household on the brink of collapse. Mother, father, and daughter provoke one another, consciously and unconsciously, and a horrifying crisis is triggered. As the family’s tragedy is told several times from different perspectives, events are recast and sympathies shift. In the dark of night, a chilling sexual spectre is making its way through the house, hovering over the sleeping girl and terrorizing her fragile mother. Are these visions real, or is there something more sinister, and more human, to fear? A spiritualist is summoned to cleanse the place of its terrors, but with her arrival the complexities of motive and desire only multiply. The mother’s failing health and the father’s many secrets fuel the growing conflicts, while the daughter flirts dangerously with truth and fantasy.

While Angelica is reminiscent of such classic horror tales as The Turn of the Screw and The Haunting of Hill House, it is also a thoroughly modern exploration of identity, reality, and love. Set at the dawn of psychoanalysis and the peak of spiritualism’s acceptance, Angelica is also an evocative historical novel that explores the timeless human hunger for certainty.
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Editorial Reviews

Elizabeth Hand
Angelica, Arthur Phillips's spellbinding third book, cements this young novelist's reputation as one of the best writers in America, a storyteller who combines Nabokovian wit and subtlety with a narrative urgency that rivals Stephen King's … his profoundly unsettling achievement is to demonstrate the terrible hold that childhood traumas have not just on their victims but on those who seek to help them: the slippery and dangerous nature of memory, and the futility of believing that we can ever exorcise a demon when the demon's story is our own.
— The Washington Post
Publishers Weekly

Set in Victorian England, Phillips's impressive third novel uses four linked viewpoints to explore class, gender, family dynamics, sexuality and sciences both real and fraudulent, ancient and newly minted. Joseph Barton, a London biological researcher, orders his four-year-old daughter, Angelica, who's been sleeping in her parents' bedroom, to her own room. Joseph's wife, Constance, resists this separation from her child and the resumption of a marital intimacy that, given her history of miscarriage, may threaten her life. Soon Constance notices foul odors, furniture cracks and a blue specter that appears to attack Angelica while she sleeps. When she reports these supernatural visitations to the unimaginative Joseph, the rift between them widens. Desperate, Constance turns to actress-turned-spiritualist Annie Montague for help. Phillips (Prague) captures period diction and detail brilliantly. At its strongest, the multiple-viewpoint narration yields psychological depth and a number of clever surprises; at its weakest, it can slow the book's momentum to an uncomfortably slow (if authentically Victorian) pace. Author tour. (Apr.)

Copyright 2007 Reed Business Information
Library Journal

American expatriates in post-Communist Budapest (Prague), tomb robbers in the Nile Valley (The Egyptologist), and now ghosts—the award-winning Phillips is a writer of uncommon versatility. In this Victorian tale told with a modern sensibility, Constance Barton is determined to protect her daughter, the eponymous Angelica, from her sexually voracious husband, Joseph. Spiritualist Anne Montague comes to the rescue and taps into tidy sums from the grateful wife, whose husband, Joseph, seeks to protect his daughter, Angelica, from her deranged mother, Constance, who has hardly shared his bed since their daughter's birth. Thus we do notcome full circle, for Angelica relates the fourth part of the novel from again a different viewpoint. Readers can expect to be mightily confused and amused by this ghostly thriller-spoof, which gives Henry James a run for the money. Phillips's control of language and exquisite writing (you are actually transported to the London of Dickens) is worth the price of admission. Highly recommended for everyone who has ever worried that there is a ghost under the bed. [See Prepub Alert, LJ12/06; for an interview with Phillips, see p. 68.]
—Edward Cone

Kirkus Reviews
A symphony of psychological complexity and misdirection in four increasingly tricky movements displays the varied wares of the gifted Phillips (The Egyptologist, 2004, etc.). In a brooding family drama set in turn-of-the-century London (presumably the turn from the 19th to the 20th), former shopgirl Constance Barton begins to withdraw from her husband, Joseph (a medical researcher who had formerly served with the British Army), and into protective intimacy with their bewitching four-year-old daughter Angelica, whose birth had been preceded by several miscarriages. Fearful of enduring another failed pregnancy, Constance forsakes her husband's bed, pleading that the sensitive Angelica needs her constantly. And, appalled by evidence of the "cruelty" of Joseph's researches (i.e., mutilation and vivisection of animals), repelled by his evident masculine needs, Constance persuades herself that she sees proof of both malign ghostly presences invading their home and the more-than-fatherly interest shown toward Angelica by Joseph (born Bartone, hence of hot-blooded ancestry). Is Constance mad, or does she alone sense the presence of unspeakable evil? Phillips juggles possibilities almost as adroitly as did Henry James in this novel's likely inspiration, The Turn of the Screw-and he ups the ante in successive narratives focused on the duplicitous spiritualist ("Anne Montague") engaged by Constance, who quickly falls under this formidable older woman's not-entirely-professional influence; "Joseph Barton" himself, who gradually emerges as rather less a villain than an ingenuous victim; and finally "Angelica," years after the novel's major events, when she has learned-but still does not fullyunderstand-the personal histories that set her formerly loving parents at incompatible odds. A further mystery is found in the identity of the narrator, neatly revealed late in the story (though less of a surprise than Phillips perhaps intends). Elegant writing abounds, as do probing characterizations and flashes of wit (the two nicely conjoined in the figure of self-important, gourmandizing consulting psychologist Doctor Miles). An impressive step forward for the versatile Phillips, who continues to engage, surprise and entertain.
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Product Details

  • ISBN-13: 9781400062515
  • Publisher: Random House Publishing Group
  • Publication date: 4/3/2007
  • Pages: 352
  • Product dimensions: 7.07 (w) x 9.66 (h) x 1.02 (d)

Meet the Author

Arthur Phillips

Arthur Phillips is the bestselling author of The Egyptologist and Prague, which was a New York Times Notable Book and winner of the Los Angeles Times Art Seidenbaum Award for First Fiction. He lives in New York with his wife and two sons.


It takes a lot of guts to call your first novel Prague. The name alone has become shorthand for a temporary fantasy world populated by overprivileged, post-collegiate Westerners trying to find themselves. It takes even more guts to call your first novel Prague and set it in Budapest.

Luckily for Arthur Phillips, the confidence is backed up by talent. His 2002 debut became a national bestseller that landed on several critics' year end "best of" lists, including Newsweek, Publishers Weekly, and The New York Times.

The seeds for Prague were planted in 1990, when Phillips graduated from Harvard and moved to Budapest. After the fall of Communism, Central Europe became the latest stopping point for would be bohemians looking to recreate the spirit of Paris in the ‘20s. Phillips spent the next two years working a variety of odd jobs, including stints as an executive assistant, an entrepreneur, a jazz musician, and a repo man.

While in Budapest, Phillips was struck by the radically different communities living together in the Hungarian capital. On one side were the expatriates: young, carefree, self-consciously aware of their role in history. On the other side were the natives: experienced, distant, routinely suspicious of the invading foreigners, yet smart enough to exploit the boon for their own benefit.

The gap between and necessary collision of the two worlds resonates throughout Prague. As Phillips writes on his website, "For some people I knew, the ear-popping pressure of so much history and self-consciousness made it hard to get up in the morning, to justify your lunch, let alone your existence. What does it mean to tell a girl you ache for her as the two of you stand in front of a building with bullet holes in it? What does it mean to fret about your fledgling and blatantly temporary career when the man next to you managed to get himself tortured by the secret police of two different regimes?"

In 1992, Phillips returned to the States to study music at Berklee in Boston. He graduated after a year and a half and started playing music professionally. Shortly thereafter, he got married. It did not take long for his wife to become "increasingly dubious about [his] abilities to make any money," so Phillips did what any man in his situation would do—he tried out for Jeopardy. Six months later, Phillips was on the show, earning enough money as a five-night champion to fund his next few years of exploits.

He began work on Prague in 1997. "I had been back in the States for about 5 years, and I felt so overwhelmingly nostalgic for that time and place, that I really was kind of a drag to be around," Phillips said in a 2002 interview with NPR's All Things Considered. "And my wife and others would ask me to stop talking about Hungary. And so I thought, well, maybe I could write about this time and then maybe I can work through some of my nostalgic issues."

It took Phillips four years to write the book and another six months to find an agent. Random House picked up the novel and published it to nearly universal acclaim. Janet Maslin praised it in The New York Times as "an ingenious debut novel." Other critics called Prague "devilishly clever" (Publishers Weekly), "hilarious and scathing" ( and "astonishingly good" (Minneapolis Star Tribune). Phillips, it seems, had finally found his niche.

Two years later, Phillips published his second novel, The Egyptologist. Phillips came up with the idea for the novel when asked by his sister to describe the writing process. To Phillips, writing is like, "an archaeological expedition. You think you're describing the main chamber, but then you discover another door and you go through it and find an even larger room, and what you thought was your goal turns out just to be a piece of a much larger structure you hadn't expected to find."

Phillips has gone on to write Angelica, The Song Is You, and The Tragedy of Arthur, all to critical acclaim.

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    1. Hometown:
      New York, New York
    1. Date of Birth:
      April 23, 1969
    2. Place of Birth:
      Minneapolis, Minnesota
    1. Education:
      B.A., Harvard College, 1990
    2. Website:

Read an Excerpt


I suppose my prescribed busywork should begin as a ghost story, since that was surely Constance’s experience of these events. I fear, however, that the term arouses unreasonable expectations in you. I scarcely expect to frighten you of all people, even if you should read this by snickering candle and creaking floorboards. Or with me lying at your feet.

So. A ghost story! The scene opens in unthreatening daylight, the morning Joseph cast the child out of their bedroom. The horror tales Constance kept at her bedside always opened peacefully, and so shall hers:

The burst of morning sunlight startled the golden dust off the enfolded crimson drapery and drew fine black veins at the edges of the walnut-brown sill. The casement wants repainting, she thought. The distant irregular trills of Angelica’s uncertain fingers stumbling across the piano keys downstairs, the floury aroma of the first loaves rising from the kitchen: from within this thick foliage of domestic safety his coiled rage found her unprepared.

“I have suffered this insult too long,” he said. “I cannot countenance a single night more of this—this reversal of nature. You encourage this upending of my authority. You delight in it,” he accused. “It ends now. Angelica has a bedroom and shall sleep in it. Am I understood? You have made us ridiculous. Are you blind to this? Answer me. Answer!”

“If she should, my dear, after all, call out for me in the night?”

“Then go to her or not. The question is of no significance to me, and I strongly doubt that it is of any to her.” Joseph pointed at the small bed, unobtrusive at the foot of their own, as if noticing it for the first time, as if its very existence justified his cruelty. The sight of it refreshed his anger, and he kicked it, pleased to see his boot spoil the bedding. He had calculated the gesture to affect Constance, and she retreated. “Look at me when I am speaking. Would you have us live as a band of Gypsies?” He was shouting now, though she had not contradicted him, had never once in seven years contemplated such rebellion. “Or are you no longer capable of even a single act of obedience? Is that, then, where we have arrived? Move her before I return. Not a word more.”

Constance Barton held her tongue before her husband’s hectoring. In his imperial mood, when he imagined himself most English even as he strutted like an Italian bravo, reason could sustain no hope of gaining a foothold. “For how long would you have delayed this, if I did not at last relieve you of the womanly decision?” Against the acquiescence of her silence still he raved, intending to lecture her until she pronounced him wise.

But Constance would have been seeing farther than he was: even if Joseph could deceive himself that he was merely moving a child’s bed, she knew better. He was blind (or would feign blindness) to the obvious consequences of his decision, and Constance would pay for his intemperance. If he could only be coaxed into waiting a bit longer, their trouble would pass entirely of its own accord. Time would establish a different, cooler sympathy between them. Such was the fate of all husbands and wives. True, Constance’s weakened condition (and Angelica’s) had demanded that she and Joseph adapt themselves more hurriedly than most, and she was sorry for him in this. She always intended that Angelica would be exiled downstairs, of course, but later, when she no longer required the child’s protective presence. They were not distant from that safer shore.

But Joseph would not defer. “You have allowed far too much to elude you.” He buttoned his collar. “The child is spoiling. I have allowed you too much rein.”

Only with the front door’s guarantee that he had departed for his work did Constance descend to the kitchen and, betraying none of her pain at the instruction, asked Nora to prepare the nursery for Angelica, to call in a man to dismantle the child’s outgrown bed and haul the blue silk Edwards chair up from the parlor to her new bedside. “For when I read to her,” Constance added and fled the Irish girl’s mute examination of her.

“Watch, Con—she will celebrate the change,” Joseph had promised before departing, either failed kindness or precise cruelty (the child celebrating a separation from her mother). Constance ran her fingers over Angelica’s clothing, which hung lightly in her parents’ wardrobe. Her playthings occupied such a paltry share of the room’s space, and yet he had commanded, “All of this. All of it. Not one piece when I return.” Constance transmitted these excessive orders to Nora, as she could not bear to execute them herself.

She escaped with Angelica, found excuses to stay away from the disruption until late in the afternoon. She brought her weekly gifts of money, food, and conversation to the widow Moore but failed to drown her worries in the old woman’s routine, grateful tears. She dallied at market, at the tea shop, in the park, watching Angelica play. When they at last returned, as the long-threatened rain broke and fell in warm sheets, she busied herself downstairs, never looking in the direction of the staircase but instead correcting Nora’s work, reminding her to air out the closets, inspecting the kitchen. She poked the bread, criticized the slipshod stocking of the pantry, then left Nora in mid-scold to place Angelica at the piano to practice “The Wicked Child and the Gentle.” She sat across the room and folded the napkins herself. “Which child are you, my love?” she murmured, but found only sadness in the practiced reply: “The gentle, Mamma.”

As the girl’s playing broke and reassembled itself, Constance finally forced herself up to the second floor and walked back and forth before the closed door of Angelica’s new home. No great shock greeted her inside. In truth, the room’s transformation hardly registered, for it had sat six years now in disappointed expectation. Six years earlier, with his new wife seven months expectant, Joseph had without apparent resentment dismantled his beloved home laboratory to make space for a nursery. But God demanded of Constance three efforts before a baby survived to occupy the room. Even then it remained empty, for in the early weeks of Angelica’s life, mother and daughter both ailed, and it was far wiser that the newborn should sleep beside her sleepless mother.

In the months that followed, Constance’s childbed fever and Angelica’s infant maladies ebbed and flowed in opposition, as if between the two linked souls there were only health enough for one, so that a year had passed without it ever being advisable to send the child downstairs to the nursery. Even when Angelica’s health restored itself, Dr. Willette had been particularly insistent on the other, more sensitive issue, and so—Constance’s solution—it seemed simplest and surest to keep Angelica tentatively asleep within earshot.

Nora had placed the chair beside the bed. She was powerful, the Irish girl, more brawn than fat to have hoisted it by herself. She had arranged Angelica’s clothing in the child-sized cherry-wood wardrobe. Bleak, this new enclosure to which Angelica had been sentenced. The bed was too large; Angelica would feel lost in it. The window was loose in its setting, and the noise of the street would surely prevent her sleeping. The bedclothes were tired and dingy in the rain- gray light, books and dolls cheerless in their new places. No wonder he had kept his laboratory here; it was by any standard a dark, nasty room, fit only for the stink and scrape of science. The Princess Elizabeth reclined in a favored position atop the pillows, her legs crossed at the ankle; of course Nora knew Angelica’s favorite doll and would make just such a display of her affection for the girl.

The blue chair was too far from the bed. Constance pressed her back against it until it clattered a few inches forward. She sat again, smoothed her dress, then rose and straightened the Princess Elizabeth’s legs into a more natural position. She had raised her voice often at Angelica during their day out, barked sharp commands (just as Joseph had done to her) when kindness would have served better. The day she was destined to lose a piece of her child, the day she wished to hold her ever closer and unchanging—that very day, how easily Angelica had irritated her.

This shift of Angelica’s residence—this cataclysmic shift of everything—coming so soon after her fourth birthday, likely marked the birth of the girl’s earliest lasting memories. All that had come before—the embraces, sacrifices, moments of slow-blinking contentment, the defense of her from some icy cruelty of Joseph’s— none of this would survive in the child as conscious recollection. What was the point of those forgotten years, all the unrecorded kindness? As if life were the telling of a story whose middle and end were incomprehensible without a clearly recalled beginning, or as if the child were ungrateful, culpable for its willful forgetfulness of all the generosity and love shown to it over four years of life, eight months of carrying her, all the agony of the years before.

This, today, marked the moment Angelica’s relations with the world changed. She would collect her own history now, would gather from the seeds around her the means to cultivate a garden: these panes of bubbled glass would be her “childhood bedroom window,” as Constance’s own, she recalled now, had been a circle of colored glass, sliced by wooden dividers into eight wedges like a tart. This would be the scrap of blanket, the texture of which would calibrate Angelica’s notion of “soft” for the rest of her life. Her father’s step on the stair. His scent. How she would comfort herself in moments of fear.

A stuttered song usurped unfinished scales, but then it, too, stopped short, abandoned in the midst of its second repetition. The unresolved harmony made Constance shudder. A moment later, she heard Angelica’s light step on the stair. The girl ran into her new room and leapt upon the bed, swept her doll into her arms. “So here is where the princess secluded herself,” she said. “We searched high and low for Your Highness.” She ceremoniously touched each of the bed’s dark posts in turn, then examined the room from ceiling to floor, playing a prim courtier. She visibly struggled to ask a question, moved her lips silently as she selected her words. Constance could almost read her daughter’s thoughts, and at length Angelica said, “Nora says I shall sleep here now.”

Constance held her child tightly to her. “I am very sorry, my love.”

“Why sorry? Must the princess stay up with you and Papa?”

“Of course not. You are her lady-in-waiting. She would be lost upstairs.”

“Here she shall be free of royal worries, for a spell”: Angelica unknowingly quoted a storybook. She crossed to the tiny dressing table, dragged its small chair over her mother’s protests, stood upon it to peer out the front window. “I can see the road.” She stood on her toes at the very edge of the chair’s scarlet seat, pressed her hands and nose against the window’s loose pane.

“Please be careful, my love. You must not do that.”

“But I can see the road. That’s a chestnut mare.”

“Come to me, please, for a moment. You must promise me that if you need me, you will not hesitate to call or even come and rouse me. I will never be angry if you need me. It shall be just like it was, truly. Sit upon my lap. Yes, the princess too. Now tell, are you pleased with these arrangements your father has dictated for us or no?”

“Oh, yes. He is kind. Is this a tower, because of the window?”

“Not a tower, no. If it is a tower you desire, you slept in a higher point with us, upstairs. It is I, up in the tower.”

“But you have no tower window looking at the horses far below, so this is the tower.” So the child was happy.

“Will you not be frightened to be alone when you sleep?”

“Oh, Mamma, yes! I will! It’s very frightening,” and her face reflected the thought of her dark night ahead, but then brightened at once. “But I will be brave as the shepherdess. ‘When the woods crow dark / and by faint stars impale / God’s light leave its mark / then does her heart wail / God’s light leave its mark. . . . When the woods crow dark . . .’ ”

Constance smoothed the girl’s hair, touched the small soft cheeks, brought the round face close. “ ‘When the woods grow dark / and by faint stars and pale / does God’s light leave its mark / then does her heart quail. But . . .’ ”

“‘But her faith’s like a lamp,’” Angelica interrupted proudly, but then stumbled again at once. “ ‘And God . . . God slow, God sl . . .’ I can’t recall.”

“‘And God’s love is brighter . . . still . . . than . . . ,’” her mother prompted.

“Shall I see a moon through the tower window?”


Angelica’s excitement was unmistakable as night approached.

Twice she looked closely at Constance and said with great seriousness, “I am frightened to be alone tonight, Mamma.” But Constance did not believe her. Angelica claimed to be afraid only because she could sense—for reasons beyond her understanding—that her mother wished she were frightened. Her claim of fear was an unwanted gift—a child’s scribbled drawing—offered in perceptive love.

Still, those transparent lies were the exception to her candid anticipation. Constance washed her, and Angelica spoke of the princess’s adventures alone in her tower. Constance brushed her hair while Angelica brushed the princess’s, and Angelica asked if she could please go to bed yet. Constance read to her from the blue chair, and in mid-sentence Angelica uncharacteristically claimed fatigue, then sweetly refused her mother’s offer to sit with her until she fell asleep.

“Should I leave the door open, my love?”

“No, thank you, Mamma. The princess desires her solitudary.”

Constance likely waited in the narrow hall, tidied the linens in the armoire, straightened paintings, lowered lamps, but heard no protest, only muttering court intrigue until that, too, faded.

Downstairs Joseph had still not returned. “Is all well in the child’s bedroom, madam?” the maid asked.

“In the nursery, Nora. Yes, thank you.”

When Joseph did arrive, he did not inquire but assumed his dictates had been smoothly instituted. He spoke of his day and did not mention Angelica at all, did not even—as they extinguished the downstairs gas and rose to the third story—stop on the second to look upon his child in her new situation. His cold triumph was understood. “Angelica resisted the new arrangements,” Constance allowed herself in mild rebellion.

He showed no concern, seemed even to take a certain pleasure in this report or, at least, in Constance carrying out his will despite resistance. She was curious if any description would inspire him even to mere sympathy, let alone a retraction of the deadly orders. Besides, the child’s actual satisfaction tonight was surely temporary, and Constance wondered what sort of response he would offer when the child’s courage finally broke, and so she said, “Angelica wept herself to sleep, so isolated she feels.”

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Reading Group Guide

1. Can anyone be justly blamed for the situation at the Barton house?

2. How did your impressions of Constance Barton, Anne Montague, Joseph Barton, and Angelica Barton change with each of the four parts?

3. Were there really ghosts at the Barton house? Do you think Arthur Phillips believes in the supernatural, or is he a man of science? Or does it matter?

4. What is Constance really fighting, if not a blue flying man? What does the specter represent? Why is it important that it be male? Would you say Constance is insane? Why or why not? Which is more frightening: the supernatural or the real horrors in Constance’s home and mind? What’s the difference?

5. Do you think Dr. Miles’s insights about the Bartons’ situation are reasonable? How do they compare to Anne Montague’s?

6. Does Anne Montague help or hinder Constance? Why is Constance special to Anne, although Anne has treated many similar cases?

7. How are the roles of motherhood and fatherhood discussed in the novel? Consider Constance as a girl, a mother, and a motherless mother. Consider Joseph’s relationship with his mother and father, and his sense of himself as a father. How can Anne, who has never had children of her own, be a mother to both Constance and Angelica?

8. How is childhood portrayed in this novel? Who is protecting whom? Who needs protection most?

9. Do you think Angelica is innocent, all things considered?

10. What is the difference between Joseph’s feelings of failure and Constance’s? How do their respective realizations of failure affect them? Did you feel more sympathetic to one or the other of these characters?

11. Who uses sex as a weapon in Angelica, literally or figuratively? Who is dominated or manipulated by it? Is sex particularly dangerous in the Victorian context? If so, how?

12. Mature narrator Angelica writes from Constance’s point of view: “for that was precisely the issue in this house: the flesh reality of intellectual conversation” (p. 137). What does this mean? How does Joseph’s interpretation of the “issue” differ?

13. Do the issues presented in this Victorian ghost story apply to contemporary readers? Do they resonate with your own life?

14. Do you think Constance’s reaction to Joseph’s work testing on animals is reasonable or hysterical? Is Joseph a sadist or a scientist? Can he be both? Do you think men are intrinsically more scientifically minded, and women intuitively minded? Does the author think so?

15. Do you agree with Anne’s statement, “No woman has ever launched a war, and no woman ever could” (p. 166)? Do you agree when she proposes, “Anywhere that women live free of men, they live with legs” (p. 186)? Do you think this is a feminist novel?

16. Why did Phillips make Joseph an ex-military man? What about Joseph’s foreigner status? How do these aspects of the character affect our opinions of him and the opinions of the characters in the novel?

17. In Angelica, some characters are or were actors, they speak in the dialogue of classic plays, and they go to the theater together. Why does Phillips use theater metaphors throughout the novel?

18. What do you think Phillips is saying about perception, reality, illusions, and dreams with Angelica?

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Sort by: Showing all of 7 Customer Reviews
  • Anonymous

    Posted April 20, 2008

    Mediocre - won't recommend to friends

    I was really captivated by the premise for this book, but I feel that it fell quite short of my expectations. There were certainly portions of the book that were very engaging. The various perspectives did provide some thought-provoking ideas and intrigues. However, I was often times frustrated by the voice as I could not tell who was telling the story 'I actually thought the family dog was telling the story at one point... but there was no dog in the story'.

    1 out of 1 people found this review helpful.

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  • Anonymous

    Posted December 23, 2011


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  • Anonymous

    Posted December 2, 2007

    Angelica is a Masterpiece

    After finishing 'Jonathan Strange and Mr. Norrell,' I was quite immersed in the world of Victorian literature, so I picked up a copy of Arthur Phillips' 'Angelica.' I loved his previous book, 'The Egyptologist,' so 'Angelica' seemed like a 'sure thing' for me. It was. I don't know when I've enjoyed a book more. 'Angelica' takes place in late-Victorian London and revolves around the Barton household: Joseph, his seemingly very neurotic wife, Constance, their four-year-old daughter, Angelica, and even their 'sturdy Irish maid,' Nora. Of course other sundry characters enter the picture, such as actress-turned-spiritualist, Anne Montague, Joseph's 'friend,' Harry Delacorte, and the lemon cake loving Dr. Miles. 'Angelica' is the story of many things. It's a ghost story. It's a story of the deterioration of a marriage. It's a story of child abuse and its consequences. It's a story of lust. It's a story of love. It's a story of ultimate betrayal. Above all, it's a story of ultimate sadness. The book, in Phillips' able hands, is perfectly written. Not one word could be replaced with one better suited. It's a perfect marriage of art and craft. Arthur Phillips proved he certainly knew his stuff in 'The Egyptologist,' and in 'Angelica,' he even tops himself. Missing this book would be missing the reading experience of a lifetime. And don't worry about the open ending. All the clues are there and putting the puzzle pieces together is half the fun. (Note: Don't overlook secondary characters and don't overlook Constance's reading habits.) A book or two more and Arthur Phillips is going to be known as one of our greatest writers ever. His work is mesmerizing. In fact, he is one of America's greatest writers right now. It's time you found that out. Pick up a copy of 'Angelica' for yourself and see. Not only is the book a masterpiece that will have you reading far into the night, it's also perfect for a book discussion group.

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  • Posted December 9, 2008

    more from this reviewer

    superb late Victorian psychological suspense

    Stationary store clerk Constance is euphoric and overwhelmed when she marries biological researcher Joseph Barton as she has changed from lowly shop girl to the lady of the manor. She decides to give her spouse children, but over the years only Angelica is born. When their daughter turns four, Joseph insists their offspring no longer sleep in their room. Constance panics as she fears for Angelica¿s safety having seen spirits hover over her child however Joseph¿s temper is more frightening so she reluctantly accepts that Angelica will sleep in her own room. Still Constance consults with a spiritualist Anne Montague, who thinks there is something perverted about Joseph and his ferocious rage at home that manifests in the spirits. Joseph cannot understand why his wife suddenly fears him and cringes at his touch as if he is a beast. Years later, an adult Angelica wonders whether when she was a child if her father was a sexual predator, her mother a delusional maniac, or something even more frightening from beyond. --- This late Victorian psychological suspense tale switches perspective as the key players provide their point of view re what is happening when Angelica turned four. The story line grips readers who are unsure as to what is the truth as each person¿s version seems right at the time it is presented. Interestingly the audience will empathize with Constance and Joseph as hey share in common the belief that their partner does not understand them. ANGELICA is a strong suspense thriller that will keep fans reading to learn supernatural or mundane cause and effect. --- Harriet Klausner

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  • Anonymous

    Posted May 17, 2011

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  • Anonymous

    Posted June 14, 2011

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  • Anonymous

    Posted March 13, 2009

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