Rat

( 3 )

Overview

Fifteen-year-old Celia Bonnet, nicknamed “Rat,” lives a peaceful life with her mother, Vanessa, a free-spirited local beauty, and Morgan, the nine-year-old orphan they have taken in. Their farmhouse compound, nestled just north of the Spanish Catalan border, is surrounded by artichoke fields and glittering ocean, cliffs where they can spy down on the rich tourists below. But when Vanessa falls for a dangerous new boyfriend, Rat must leave this ...

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Rat

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Overview

Fifteen-year-old Celia Bonnet, nicknamed “Rat,” lives a peaceful life with her mother, Vanessa, a free-spirited local beauty, and Morgan, the nine-year-old orphan they have taken in. Their farmhouse compound, nestled just north of the Spanish Catalan border, is surrounded by artichoke fields and glittering ocean, cliffs where they can spy down on the rich tourists below. But when Vanessa falls for a dangerous new boyfriend, Rat must leave this place she loves.
 
Together with Morgan, Rat sets out for London to find the father she has never met and the man who might finally explain to Rat where she belongs. An enthralling novel with a luminous sense of place, Rat is the story of a bold, rousing heroine for our times.

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Editorial Reviews

Cathleen Medwick
…shrewd and sensuous…Eberstadt is at her stylistic best when ranging through a "semiclandestinely inhabited" landscape of artichoke fields with sere gray leaves and "purplish bruise-colored" fruit, of electric skies over ratty storefront churches and glittering seas.
—The New York Times
The New Yorker
The novel transcends its rags-to-riches formula, thanks to its fierce, openhearted heroine…Eberstadt creates a captivating portrait of how people living hand-me-down lives, laden with objects and personal histories, start to write stories of their own.
Publishers Weekly
Eberstadt (Little Money Street) creates a powerful modern legend in which a drug dealer can be a fairy godmother and the handsome prince may turn out to be your father. Fifteen-year-old Celia Bonnet, aka Rat, lives with her mother, Vanessa, in the Pyrenees, where they survive on what they can scavenge and sell at local markets. Rat dreams of some day meeting her long-gone biological father, who got Vanessa pregnant during a one-night stand. Rat and Vanessa's tiny family grows first with Morgan, the orphaned son of Vanessa's best friend, and then with Vanessa's boyfriend, Thierry. But after Thierry sexually assaults Morgan, Rat and Morgan run away, dreaming of crossing the Channel to find Rat's biological father, Gillem. Eberstadt invokes the heroines of Charlotte Brontë and Cynthia Voigt to create Rat, who moves forward out of grim determination to protect Morgan, and though Vanessa could be less opaque, Eberstadt creates a sympathetic figure in Gillem, whose artistic crisis takes a backseat to the demands of new fatherhood. Amid the thorns and crumb trails is a portrait of a childhood lived freely, the dangers weighed against its potential for adventure. (Apr.)
Kirkus Reviews
The travels of two intrepid youngsters become an unlikely journey to maturity in this engaging fifth novel from the London-based American author (The Furies, 2003 etc.). In its primary narrative, we're introduced to 15-year-old Celia Bonnet, affectionately dubbed "Rat" by her beautiful, wayward mother Vanessa, with whom she lives in the French Pyrennees near the Spanish border, where Vanessa makes a living as a brocanteur working the open markets ("She buys and sells old goods"). Bonding with a friend her age (Jerome) and a younger orphan (Morgan) adopted by the impulsive Vanessa, Rat lives an essentially outdoor, unstructured life, pumping her mom for information about the stranger who fathered her-London artist Gillem McKane, the son of famous fashion model Celia Kidd. When Vanessa's live-in lover Thierry proves himself alarmingly unworthy of her (or anyone's) affections, Rat and Morgan strike out for London. When this strongly imagined novel sticks closely to Rat's brash, stoical viewpoint, it's riveting. But when, halfway through the narrative, her experiences and perceptions are juxtaposed with those of the reintroduced Gillem, the story briefly loses conviction. Gillem's morose fatalism, which inspires his envisioning of the Iraq War in an ambitious modern Bayeux Tapestry, is never fully credible. Parallels and contrasts to Rat's busy imagination are nicely handled, but it's only when Rat and he force themselves to connect, tell their separate truths and risk both the creation and the loss of intimacy, that the book comes fully alive. When Rat realizes that Vanessa needs her more than she herself needs a father, the pieces fall beautifully, movingly into place. A mature, intelligentand unusually perceptive study of the paradoxes of belonging to others, and being oneself-Eberstadt's best novel yet.
From the Publisher

“A picaresque journey, fraught with peril . . . [amid] the beautiful, desolate, casually despoiled landscape of the Pyrénées Orientales. . . . Shrewd and sensuous.” —The New York Times Book Review

“A lush, loving regional portrait of the wild and beautiful Pyrénées Orientales of southern France. . . . [Rat] wears its literary stylishness and intelligence so lightly that you might only belatedly realize how impressive its clean prose and its trim, exquisite scenes are.” —The Washington Times

“Dazzling. . . . Eberstadt is savvy and uncompromising, and Rat is wonderfully alive.” —Jayne Anne Phillips, author of Lark and Termite
 
“With a light touch, Eberstadt conjures the wolves and unexpected fairy godmothers of youth. When it comes to finding love, we are all vagabonds.” —Vogue

“[An] enchanting coming-of-age tale. . . . Eberstadt has conjured an intense romance for readers in a culture whose children almost never have a chance to hitchhike through the countryside, create imaginary universes out of ruins, or get lost in the woods, even for a moment.” —Bookforum
 
“A rigorous, elegant piece of art.” —Slate
 
“From the flea markets of down-and-out rural France to the artsy upper middle class of London, [Eberstadt has] a sympathy for her character that avoids both the condescension and the romance that plague so much writing about teenagers. . . . Eberstadt, by setting two penniless kids loose, makes it seem as scary and exciting as it was in the days when highwaymen lurked in the forests.” —Harper’s
 
“[A] finely constructed narrative . . . [with a] fierce, openhearted heroine, who is largely at the mercy of other people’s choices. . . .  Eberstadt creates a captivating portrait of how people living hand-me-down lives, laden with objects and personal histories, start to write stories of their own.” —The New Yorker
 
“Rat is a beguiling young girl.” —Providence Journal
 
“Stunning.” —The Daily Beast
 
“Very enjoyable. . . . Refreshing and engaging. . . . In Rat [Eberstadt] shows us a character who is bravely robust in the face of true difficulty and whose open mind may be her salvation.” —The New Leader
 
“Charming. . . . Deftly captures the vicissitudes of youth and middle age in equal measure.” —More
 
“Eberstadt’s Huck-Finn-in-the-Pyrenees premise unfurls into a complex commentary on everything from identity and language to domesticity and terrorism. . . . The fact that so much of [Rat] feels entirely new means it must contain something like wisdom.” —The Onion’s A. V. Club
 
“Eberstadt’s style and acumen are bracing. She skillfully inhabits the skull of a kid saddled with a free-spirited parent and a missing one. . . . It is Eberstadt’s insight into adolescent love-as-combat that adds magic to this modern-day fairy tale.” —The Plain Dealer

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Product Details

  • ISBN-13: 9780307271839
  • Publisher: Knopf Doubleday Publishing Group
  • Publication date: 3/30/2010
  • Pages: 304
  • Product dimensions: 6.36 (w) x 8.68 (h) x 1.21 (d)

Meet the Author

Fernanda Eberstadt is the author of four previous novels and one book of nonfiction. Her essays and criticism have appeared in The New Yorker, The New York Times Magazine, Vogue, Vanity Fair, and Commentary. She lives in London with her husband and two children.

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Read an Excerpt

CHAPTER 1

You try calling someone “Daddy” whom you’ve never met in your life.

Rat has this pad of pink bubble gum–scented stationery with mice on it that’s all the rage at her school. Kids will trade a mammoth marble or a jawbreaker just for one page. Rat’s got a whole damn pad of it she’s just bought with the money her English father’s sent her for her birthday. And now she’s already wrecked three pages trying to write this damn letter thanking him for the twenty francs he’s sent her. First she’s ever heard from her father. More money than she’s ever had in her life. Chr papa, mrsi . . . cher Papa, mersi. cher ppa . . .

You can see Rat’s difficulty in the monkish elaborateness with which she is transmogrifying her capital letters, turning the C into a snake with a hissing tongue, the P into an archer with a bow, the whole set-piece of greeting and gratitude grinding to a halt, firstly, because Rat doesn’t know how to write a letter, and secondly, because never having met her father or heard from him before, she hasn’t a clue what sort of child he would like her to be.

“Can I see the card again?” Rat asks, hoping for guidance. A picture of a clown sitting on a cake, and on the inside, in English, “To Celia, Happy Birthday, love Daddy” in an anonymously cursive script.

“Where’s the envelope? Can I keep the stamp?”

“It came with something else, some bank business. I threw it away,” says Vanessa.

“I didn’t even know he knew when my birthday was,” Rat says, wondering.

“Get back to your letter, girl.”

Rat groans. Looks up again, after a moment. “Are you sure it’s okay to write him in French?” She knows the answer already.

“Sure, sweetheart, your daddy speaks good French. He went to boarding school in Switzerland.”

Rat considers other options, diversionary tactics. “Maybe I should send him a photo, so he knows what I look like.” There’s a snapshot of herself Rat likes that’s tacked up on the living room wall. She’s on the boardwalk at Canet Plage, in her Rollerblades, wearing a denim skirt which their neighbor Cristel helped her make from an old pair of jeans. She is unsmiling. She looks tough, challenging, but pretty.

“Sure, sweetheart. Why not?”

“Why don’t I just send him the photo and skip the letter?”

Her mother makes as if to swat her on the side of the head, play-angry. “Go on, lazy brat, write.”

No need to feel sorry for Rat for having a father she’s never met, who only gave up denying she was his when the DNA test proved it. Lots of kids Rat knows are way worse off. There was a story on TV about a man who didn’t feed the dogs when his wife went away on vacation, so the dogs ate their toddler.

Besides, hard to see how there’d be room for a man in their lives. Rat and her mother are close as sisters, sometimes twins. Vanessa is so small—child-size, really—they can wear each other’s clothes. When one of them has nightmares or there are people staying over or they just happen to feel like snuggling, Vanessa comes to sleep in Rat’s bed.

“How’re you coming along?” Vanessa asks now.

Rat grimaces, clutches the letter close. “Don’t look.”

Her mother pushes aside Rat’s sheltering hands, and examines the mangled cross-outs.

“You’re a real case,” she says, fondly. “Here.” Vanessa writes out three lines for Rat to copy. “Dear Daddy, Thank you for the birthday money. Love, Celia.” Easy-peasy.

Rat tries to summon up the diligence to replicate these lines, but her concentration’s shot. She hunches her shoulders, stretches, picks her nose, yawns.

“You finished, sweetheart?”

“I can’t do it,” Rat grumbles. “I hate writing.”

“Just get it done with, Ratkin.”

“I can’t.”

Vanessa reads the letter, folds it, and stashes it in her big patchwork carryall. “Okay? You’re finished.”

But Rat is hunched, sulky with failure.

Vanessa rumples her daughter’s hair, bends down to blow into her ear, to tickle her. No reaction.

“You’re done,” she repeats. Waves a hand in front of Rat’s eyes. “What are you going to do with the money?”

Rat shrugs.

“Come on, grump. Let’s go to the beach,” Vanessa says. “You can buy me an ice cream. A Magnum.”

“No way,” says Rat. “I’m not spending my birthday money on an ice cream.” But already she’s on her feet, searching for her sweatshirt, the bucket in which she collects sea glass and shells.

The thank-you letter that Rat was obliged to write to her father sticks in her mind as an unsettling anomaly in a life otherwise devoid of any such old-fashioned rites of good manners. Or, indeed, of any communications from her English relatives.

Some years later, when it strikes her that a father might come in handy, Rat asks her mother why they’ve never heard from him again.

And Vanessa, who is in a lousy temper, feeling unappreciated by her now teenage daughter, laughs shortly and says, “Did you really believe that?” There never was any birthday money from Rat’s daddy, she explains. It was Vanessa who in the fullness of her heart invented this offering the year Rat moved from preschool to primary and was getting bullied by older kids at recess. “I did it to cheer you up,” she says.

Rat is so shocked her normally sharp tongue momentarily fails her. She feels made a fool of. She feels tampered-with, defiled in her innermost sanctuary, the place where she dreams about people who to her waking life are marginal.

“You made me write a letter you were never going to send?”

Vanessa shrugs. “I thought it might help you. You had things you needed to say to your father.”

“Like thank you?”

It’ll be years before Rat discovers that although her English father doesn’t send her birthday presents, he does pay Vanessa child support—a monthly sum which by London standards is probably pretty basic, but which, for the Pyrénées-Orientales, where they live, is royal.

Vanessa is a rich woman, but nobody knows, least of all her daughter. The monthly payments which are intended for Rat’s maintenance pile up in a Crédit Agricole account, separate from their regular account, which is always bumping on empty. And meanwhile, Vanessa and Rat live hand to mouth like everybody else they know, off a combination of welfare benefits, undeclared earnings, and gleaning.

To her friends, Vanessa is wide-open generous. The generosity is genuine. Vanessa would give you her only winter coat, and it wouldn’t be a game. It’s as if she’s unconscious of the fact that, unlike her friends and neighbors, she’s got serious money in the bank—if she knew, she would buy a new car, instead of rattling around in a broken-down Renault 5. Poverty is also something mental, and Vanessa honestly feels skint.

And Rat, later on when she learns about the child support and thinks it over, doesn’t begrudge her mother the money that should logically have been spent switching her to private school after she flunks out of eighth grade because the public high school at Canet is so big and rough that you spend all your mental energy figuring out how not to get beaten up. Or even just taking them on vacation somewhere nice.

Rat doesn’t mind, because thanks to Vanessa’s teaching, she’s learned to fend for herself. Later on, when she meets people who’ve been born rich, they will seem to her like dogs without a sense of smell. Bank accounts belong to the realm of the unreal. What’s real is your quick wits.

Vanessa is a brocanteuse: she buys and sells old goods. A natural-born forager, says she. The walls of their apartment are plastered with the kind of things she loves: printed cocktail napkins from a bar in Spain, a leopard-skin carnival mask with gold whiskers, photo spreads from old magazines.

Many of these photographs, laser copied and blown up, are of Rat’s English granny, her unknown father’s mother, whose name was Celia Kidd. Rat’s real name, too, is Celia. She was named after her granny, but everybody except for teachers calls her Rat.

Celia Kidd was a top model in London in the 1960s. There is a black-and-white blowup of her on the kitchen wall from British Vogue, a tall slinky girl, slim as an otter, with white skin and enormous eyes, wearing a poncho made of white feathers, and seemingly nothing else. Her gaze is merry and slightly mocking.

Rat’s father, Gillem McKane, was her only child.

Rat’s favorite photograph is of Celia and Gillem together, when he was a little boy not much older than Rat. It’s a two-page color spread, and it comes from a time when Celia Kidd was married to a British film director.

Celia, older than in her modeling days but still ferociously beautiful, is wearing a brocade fur-trimmed tunic. She is stretched out on the sofa, her long legs dangling over the armrest. Gillem is sprawled on the floor at her feet, drawing a picture. You can’t see his face, because he’s looking down. But he’s got long black hair, and he’s wearing a shirt with a frilly collar. In big letters printed along the side of the photograph, it says in English: “Mrs. Harbison’s drawing-room is midnight blue, a favorite Empire sofa is upholstered in hot-pink velvet.”

Celia and Gillem’s lives were so star-studded you would never have thought they would cross with Rat’s mother’s.

But later on, when Gillem was in his twenties, there was a period when he and his mother used to spend their summers in the Pyrénées-Orientales. They rented a big house on the cliffs above Collioure, which was the village where Vanessa and her parents lived. Celia Kidd would pack the house with her glamorous friends. And for a month in August, Collioure, otherwise rather sedate, would suddenly look as glitzy as Saint-Tropez.

Rat loves hearing the story of how her parents met.

One Saturday night, according to Vanessa, Gillem walked into the nightclub where she and her girlfriends hung out.

“Did you know who he was?” Rat asked.

“Of course. Everybody knew him. Celia’s son. He used to ride around town on his motorbike, usually with some drop-dead blonde hanging off the back, who me and my friends’d be doing hexes on—shrivel up and die, you old witch. He was gorgeous. And then that night, it was like, Oh my God, there’s Gillem. And he’s all by himself!”

“So you asked him to dance . . . ?”

“We danced, we talked. He had this really cute English accent. I asked him where his girlfriend was, he said she’d gone back to London. I said, Oh, so my voodoo spells worked.”

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Customer Reviews

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Sort by: Showing all of 3 Customer Reviews
  • Posted May 15, 2010

    Rat and race

    This not very complex novel is about family love but also about the destructiveness of families. It's about interracial warfare but also about how easily human relationships can transcend race.

    "Rat" is 15-year old shoeless Celia Bonnet -- and make that "Bonnet" sound like "Bonnay" in your head, because this is the South of France. Not the Riviera of film festivals and fabulous yacht parties, but the far more raffish beaches as far to the South West as you can get without hearing Spanish. The characters are more likely to be dealing drugs than baccarat cards. In nearby Perpignan, daily battles between immigrants and natives keep the scorching city on edge, and the schools all have metal detectors at their entrances.

    No wonder Rat is pissed off. She's the product of a one-night stand between her French junk-dealing mother and a wealthy English artist. The conception part of the encounter seems to have been deliberate on the part of the mother, and Gillem, the resentful father, pays child support by standing order and shuns further contact. Rat is told only that he's English and the son of a very famous and very glamorous model.

    Rat has informally adopted nine year old Morgan as a younger brother. Arabic, the son of another single mother who died of AIDS, Morgan is football crazy but also familiar with the electronic marvels of our age. You feel him shrug with resignation as he follows Rat on whatever crazy exploit she cares to dream up. It's summer, the restaurants are full of sunburned tourists and life on the polluted beaches is free.

    The central event in the book is the sexual molestation of Morgan by another passing lover of Rat's mother. Rat witnesses it, but her mother refuses to believe it. The way the author describes the impact of this affront is very true to life, I think. If her French family appears feckless, Rat thinks, perhaps my father's family has some feck. She proceeds to locate Gillem by -- what else? -- Google, and announces to Morgan that they're off to London.

    They arrive precisely on page 191 of this 293-page work, and the last third -- perhaps what the author thought of as the heart of the book -- is the impact of these two urchins on an upper middle class intellectual family in West London. I won't say more than that Morgan's football talents go down surprisingly well, and that Rat gets involved in the London underground bombings of July 2005 -- a late reminder that race relations are a theme of the book.

    It's put-downable, this book. I lost no sleeping hours beacause of it. It did make me think a bit, however. The author is obviously very familiar with both settings and, I surmise, more admiring of life as it's lived in French Catalonia than in Westbourne Park. The dialog is easy to read but you have to keep reminding yourself that these people -- even the Londoners -- are really speaking French. The author could have made more of this, I think, perhaps weaving some French idiom into the English.

    Buy it and enjoy it unless family dynamics give you the screaming ab-dabs. Let's face it -- they have that effect on too many of us.

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    Posted July 29, 2010

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    Posted September 21, 2010

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