Heat Wave


Pauline is spending the summer editing a novel about romantic love, ensconced in World's End, a grey stone cottage set on a hillside in a lushly described English countryside. The original three dwellings are now two, the rustic exterior belying the quietly humming machinery within - computers, phones, faxes, microwaves, freezers, televisions and VCRs. The larger part of the cottage is occupied by Pauline's daughter, Teresa, and her baby, and from time to time by Teresa's husband, Maurice, who is writing his own ...
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Pauline is spending the summer editing a novel about romantic love, ensconced in World's End, a grey stone cottage set on a hillside in a lushly described English countryside. The original three dwellings are now two, the rustic exterior belying the quietly humming machinery within - computers, phones, faxes, microwaves, freezers, televisions and VCRs. The larger part of the cottage is occupied by Pauline's daughter, Teresa, and her baby, and from time to time by Teresa's husband, Maurice, who is writing his own book about the myth of the British countryside. Teresa's passionate love for Maurice fills Pauline with dread. Her possessive passion for Teresa's father eroded her own youth, as she finds herself recollecting during the long hot summer. It is not just the novel on which she is working that reminds Pauline of her self-destroying jealousy: when Maurice's editor and his girlfriend take to spending weekends at World's End she realizes that Maurice may similarly betray Teresa. But the protective bond between mother and daughter means that Pauline can scarcely endure this. A stunning and unexpected denouement changes the order of things irrevocably for this family, whose intimacy the reader abandons reluctantly at novel's end.
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Product Details

  • ISBN-13: 9780060928551
  • Publisher: HarperCollins Publishers
  • Publication date: 9/28/1997
  • Series: Harper Perennial
  • Pages: 228
  • Sales rank: 1,071,582
  • Product dimensions: 5.31 (w) x 8.00 (h) x 0.51 (d)

Meet the Author

Penelope Lively

Penelope Lively is the author of many prize-winning novels and short-story collections for both adults and children. She has twice been shortlisted for the Booker Prize: once in 1977 for her first novel, The Road to Lichfield, and again in 1984 for According to Mark. She later won the 1987 Booker Prize for her highly acclaimed novel Moon Tiger. Her other books include Going Back; Judgement Day; Next to Nature, Art; Perfect Happiness; Passing On; City of the Mind; Cleopatra's Sister; Heat Wave; Beyond the Blue Mountains, a collection of short stories; Oleander, Jacaranda, a memoir of her childhood days in Egypt; Spiderweb; her autobiographical work, A House Unlocked; The Photograph; Making It Up; Consequences; Family Album, which was shortlisted for the 2009 Costa Novel Award, and How It All Began. She is a popular writer for children and has won both the Carnegie Medal and the Whitbread Award. She was appointed CBE in the 2001 New Year's Honours List, and DBE in 2012. Penelope Lively lives in London.

Good To Know

In her interview with Barnes & Noble.com, Lively shared some fun facts about herself:

"I came late to writing -- I was in my late 30s before I wrote anything. The years before that had been busy with small children, and I seem to have fallen into writing almost by accident. Since then, I have never stopped -- books for children to begin with, then a period writing for both adults and children -- short stories also -- then for adults only when the children's books, sadly, left me."

"It has been a busy 30 years, but because writing is a solitary activity and I like the company of others, I have also always had other involvements -- with writers' organizations such as Britain's Society of Authors, with PEN, with the Royal Society of Literature, and, for six years, as a member of the Board of the British Library (the opposite number of the Library of Congress) which I regarded as a great privilege -- what could be more important than the national archive?"

"I have always been an avid user of libraries; like any writer, much of my inspiration comes from life as it is lived -- what you see and hear and experience, but my novels have sprung from some abiding interest -- the operation of memory, the effects of choice and contingency, the conflicting nature of evidence -- and these concerns are fueled by reading: serendipitous and eclectic reading."

"I am first and foremost a reader myself. I don't think I could write if I wasn't constantly reading. I both wind and unwind by reading -- stimulus and relaxation both. I used to love tramping the landscape, and gardening, but arthritis rules out both of those, so I do both vicariously through books. I live in the city now, but feel out of place -- I have always before lived most of the time in the country: I miss wide skies, weather, seasons."

"Never mind, there are compensations, and London is a very different place from the pinched and bomb-shattered place to which I came as a schoolgirl in 1945 -- now it is multicultural, polyglot, vibrant, unpredictable, in a state of constant change but with that bedrock of permanence that an old place always has. I like to escape from time to time -- mainly to West Somerset, where we have a family cottage and I can admire my daughter's garden -- she has the gardening gene in a big way and is far more skilled than I ever was -- bird-watch, walk a bit, talk to people I've known for decades, and see the night sky crackling with the stars that the city blots out."

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    1. Hometown:
      London, England
    1. Date of Birth:
      March 17, 1933
    2. Place of Birth:
      Cairo, Egypt
    1. Education:
      Honors Degree in Modern History, University of Oxford, England, 1955

Read an Excerpt

Chapter One

It is an afternoon in early May. Pauline is looking out of the window of her study at World's End. She looks not at the rich green of the field sweeping up to the cool blue of the sky, but at Teresa, who stands outside the cottages with Luke astride her hip, staring up the track towards the road. Pauline sees Teresa with double vision. She sees her daughter, who is holding her own son and waiting for the arrival of her husband. But she sees also an archetypal figure: a girl with a baby, a woman with a child. There is a whole freight of reference there, thinks Pauline. The girl, the child, the sweep of the cornfield, the long furrowed lines of the rough track reaching away to elsewhere. Seen through one lens, Teresa is a Hardy heroine -- betrayed no doubt, a figure of tragedy. Seen through another, she is a lyrical image of youth and regeneration. And for Pauline there shimmers also a whole sequence of intimate references, other versions of Teresa which hitch them both to other days and different places. It is a day in May at World's End, but it is also the extent of two lives -- three fives, if Luke's fifteen months are to be considered.

In fact, Teresa is standing where she is for good reason. She has already spotted the glint of the sun on the windscreen of Maurice's car as it turned off the main road, and now indeed here comes the car, creeping in the distance like some sleek dark beast amid the rippling green. And Luke too has seen it. His whole body registers attention and anticipation. He twists his head. He points with all four fingers. 'Da!' he says. 'Da!' Here comes my father, he is announcing.

Pauline hears him,through the open window. She too notes the car. She watches its approach, she sees it pull off the track on to the area alongside the cottages that serves as a parking space. Maurice gets out. He kisses Teresa and they go together into the cottage, into their half of the pair of cottages which is World's End. Pauline turns from the window and looks down again at her desk. She picks up her pencil and makes a note on the manuscript in front of her.

World's End is itself something of an archetype, and as such is unreliable. It is a grey stone building set on a hillside somewhere in the middle of England. The stone is weathered, the hilI behind reaches up to a crown of trees which are a delicate tracery against the sky. Adroitly photographed, it could be used as an advertisement by car manufacturers (you need one to get there), the bread industry (there grows the good healthy wheat) or those who operate the tourist trade (come with us and you too will see such scenes). The building appears to be locked still into the early nineteenth century -- a terrace of three two-storey cottages with attic dormer windows, constructed of stone dug from a quarry a few miles away and roofed with stone slate also of local provenance. There it sits, tucked snug into the fields. It could have simply grown of its own accord, you feel -- made from the very bones of this land. It is an emanation of a time and a place.

The truth is that World's End is suspended in this landscape like a space capsule, with its machinery quietly humming -- its computers, its phones, its faxes. Its microwaves, its freezers, its televisions and videos. World's End in fact is nicely disguised, like one of those turfed-over bunkers kitted out as command posts in the event of nuclear attack.

The building has been gutted. Three dwelling are now two, with nothing left of the original construction but windows, fireplaces, a few oak beams and a staircase. The front door of the left-hand, larger cottage -now used by Teresa and Maurice -- opens straight into a big open-plan kitchen. Behind that a new extension provides the sitting-room which overlooks the garden common to both cottages. A cleverly constructed space-saving staircase twists up out of one corner of the kitchen to the bedroom and bathroom floor above. The attic is Maurice's study.

The smaller cottage -- Pauline's -- is rather different. Kitchen and sitting-room are paired at each side of a tiny hallway, from which the original staircase rises to the upper floor. It is a disconcertingly precipitate staircase, much too steep and with narrow treads. Pauline has had hand rails put at either side, but even so visitors have to be warned. She wishes occasionally that the staircase had been ripped out when the building was done over, but at the time it seemed appealing and in some way integral to the cottage, and now she cannot be bothered with any further upheaval.

The whole place is of course radiant with electricity and central heating. It ticks and tocks with timing mechanisms and remote-control devices. Green digits blink from display panels. Telephones are poised for action. Computers and faxes stand waiting in Pauline's study and in Maurice's. Both of them can tap into a global communication network, both can conjure up the information resources of distant libraries. World's End is a wolf in sheep's clothing - it is no more rooted in a time and a place than is the flight deck of a 747

A curious name for a row of cottages -- World's End. When Pauline bought the place ten years ago she was puzzled by the term but found no explanation until Maurice pointed out that such names were often given to farm labourers' dweUings sited out in the fields in the last century -- new constructions away from village centres and labelled accordingly, places that seemed remote, or -- ironically -- idyllic.

Heat Wave. Copyright © by Penelope Lively. Reprinted by permission of HarperCollins Publishers, Inc. All rights reserved. Available now wherever books are sold.
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