A Whistling Woman

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"A Whistling Woman opens in the late 1960s, as the world begins to split, and as Frederica - the spirited heroine of the novel - falls almost by accident into a career in television in London. Tumultuous events in her home county of Yorkshire threaten to change her life and the lives of those she loves." Meanwhile, near the university, where the scientists Luk and Jacqueline are studying snails and neurones and the workings of the brain, an "anti-university" springs up. On the high moors nearby a gentle therapeutic community is taken over by a
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"A Whistling Woman opens in the late 1960s, as the world begins to split, and as Frederica - the spirited heroine of the novel - falls almost by accident into a career in television in London. Tumultuous events in her home county of Yorkshire threaten to change her life and the lives of those she loves." Meanwhile, near the university, where the scientists Luk and Jacqueline are studying snails and neurones and the workings of the brain, an "anti-university" springs up. On the high moors nearby a gentle therapeutic community is taken over by a turbulent, charismatic leader. Visions of blood and flames, of mirrors and doubles, share the refracting energy of Frederica's mosaic-like television shows. The languages of religion, myth, and fairy tale overlap with the terms of science and the new computer age. Darkness and light are in perpetual tension and the meaning of love itself seems to vanish. People flounder - often comically - seeking their true sexual, intellectual, and emotional identities.
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Editorial Reviews

The New York Times
By far the strongest parts of A Whistling Woman have to do with the unfolding drama of a Quaker therapeutic community called the Spirit's Tigers, which is gradually taken over and turned into a religious cult by a former mental patient named Joshua Lamb, who, while still a ''plump, pitiable boy,'' witnessed his father's murder of his mother and sister. Byatt's writing about Lamb's gradual descent into self-protective madness and the way in which unbearable personal trauma becomes organized into a lunatically meaningful philosophical system is superb, and demonstrates the empathic powers that are available to her every bit as much as her daunting intellectual reach. — Daphne Merkin
Penelope Mesic
As A Whistling Woman opens, it becomes clear that the three previous volumesof A.S. Byatt's magnificent quartet of modern British life (The Virgin in the Garden, Still Life and Babel Tower) have led inexorably to the feminism, divisive protest and cultural ferment of the late 1960s.

Frederica Potter, the protagonist of the earlier novels, is now a single mother in her early thirties teaching literature at a London art school. Beset by radical students protesting the "authoritarianism" of lectures and reading lists, she finds she must "[give] up teaching because she wanted to teach." Brilliant and adaptable, she lucks into a job hosting a pioneering talk show at the BBC. This proves a clever narrative choice. The show captures the appealing qualities of the period—intellectual playfulness, a then-new mix of high and low culture and a frank examination of issues previously taboo. More important, it puts Frederica at the center of opinions and events.

This is crucial for Byatt, who displays a great-hearted determination to present a cross section of society ardent with ideas. Biologists and geneticists, psychotherapists and clerics, playwrights and poets and pop stars and fledgling computer scientists—even a charismatic madman—stream through this final volume. This gives Byatt the opportunity to put into her characters' hands every sort of literary product: pop song, committee report, scientific study, protest poem, sermon, letter, journal, commonplace book. Her command of such forms is effortless, joyous and exact, and the result is characters who seem to embody a separate universe of ideas.

Byatt briefly defers the hubbub of twentieth-century thought by choosing to begin her novel with the charm and simplicity of myth. The first character to speak is a small, comically self-important thrush, the narrator of the concluding episode of an epic bedtime story Frederica's friend Agatha is reading to their children. The fairy tale tells of three young travelers journeying through the bleak land of the Whistlers, bird women with beaks like knives who are "angry because no one can hear [their] speech." Those strong but lonely compound creatures, the Whistlers, suggest women such as Agatha and Frederica, who are raising their children as single parents and seeking relationships with men capable of regarding women's work to be as valuable as their own. The final chapter of this fairy tale is a key to the novel's two main narrative strands, one relating to the emerging feminism of the 1960s and the other to the mastery of knowledge in all its forms, from the genetic code to the language of dreams.

Many of the characters struggling with the issues occupying women like Frederica peopled the earlier volumes of Byatt's quartet, particularly those encountered in Yorkshire, England, Frederica's childhood home, which she revisits here. It is in Yorkshire that the struggle between tradition and liberation plays out on a larger scale, as the local university and its kindly administrator are confronted by a disruptive, ragtag "anti-university" that is calling for the abolishment of requirements such as foreign language.

Meanwhile, beyond the university and the protest movement lies a remote farm, where, as the novel unfolds, an episode of grisly domestic abuse has taken place. During the course of the book, the farm becomes the farthest outpost of rash inquiry and disorder, beginning as a psychiatric halfway house and ending as the headquarters of a religious cult.

The figure around whom the cult forms, Josh Lamb, is mentally disturbed, yet uncannily insightful and magnetic. The survivor of his father's homicidal religious mania, Lamb is alive to evil and its potential to overwhelm good. He is plunged into horrific, near-constant visions. Once, ecstatic, he sees "hundreds of thousands of creatures made of light, men, women, winged things and swimming things, all dripping with brilliance ... swarm[ing] up and down toward the moon...." Another time, he topples headlong into a claustrophobic hell where a false moon "gave off a miserable light, like inadequate fluorescent tubing in cheap canteens." There his family, in postures of violent death, yammer and clack, and a voice commands him: "You must take in what you do not want, to finish the Work." The precision with which Byatt tracks the progress of the group Lamb first joins as a patient, then comes to lead, is absolutely chilling.

With so much going on, in so many different heads, a reader might envision the accumulated throng of Byatt's characters pressing forward, each eager to dominate the narrative. Yet none alone offers a complete vision of the world, and the book's inside joke is that fiction embraces and contains all manner of other mental realms. This teeming realm, so crammed with idea and incident, so intertwined with opinion and description that the richness of it is like a drug, must finally have a last page. And even though Byatt has from the first prepared us, by showing us the children, outraged when the story of the Whistlers is suddenly over, the reader ends up sharing their reaction: "an appalled silence," a sense of loss and grief at having now to live outside the book.
Publishers Weekly
Byatt, like George Eliot and Doris Lessing, aims to show in her fiction the exemplary struggle between self-consciousness and the precepts of culture. She produces "novels of ideas"-which is an all too bloodless label for this beautifully realized, smart novel, the final volume of the tetralogy she began with The Virgin in the Garden. It is 1968. To capture the millenarian atmosphere of that year, Byatt situates her action around several different centers: a fashionable TV chat show hosted by Frederica Potter (whose divorce was the center of Babel Tower); an Anti-University going up in the moor near the University of North Yorkshire; a conference on body and mind being planned by the vice-chancellor of UNY; Dun Vale Hall, also in the moors near the university, an alternative therapy site whose titular head, R.D. Laing-like psychoanalyst Elvet Gander, is increasingly under the sway of his patient, the charismatic Joshua Ramsden; and UNY's biology department, where Luk Lysgaard-Peacock and Jacqueline Winwar are working within the relatively recent neo-Darwinian synthesis. As Frederica's producer sets up a documentary around the UNY conference, all the circles begin to overlap. Against the rationality of the novel's scientists is pitted the stubborn truth of their finding: that the brain isn't made for reason, but for the body. In Frederica, Byatt has produced a model proto-feminist: literate, shrewd and knowing, a character who could only be the product of centuries of Enlightenment. The countertheme belongs to the dark, ecstatic Ramsden, whose psychotic episodes begin to bleed into his essential, charismatic goodness. "We are shimmering on the edge of transfiguration," writes Gander. The terror, as Byatt shows, is what lies over that edge. (Dec. 17) Forecast: The scope of Byatt's quartet of novels, the first of which was published in 1979, is impressive. The release of the final installment should prompt overviews of all four and appreciations of Byatt's career to date. Copyright 2002 Cahners Business Information.
Library Journal
Mirror images pervade Byatt's new work, a study of England in the Swinging Sixties that suggests exactly what went wrong. Having abandoned university teaching, Frederica Potter finds herself the host of a cutting-edge TV show called Through the Looking-Glass that is bringing her some unwanted fame. She's a single mom struggling with young son Leo, who is having trouble learning how to read, and in addition can't commit to lover John, whose twin, Paul, heads up a rock band called Zag and the Syzygy Zy-goats. Events conspire to draw these characters to a Body- Mind conference at a northern university plagued by an Anti-University, even as a religious cult is getting started at a farm across the way. Byatt (Possession) does a remarkable job of balancing her interlaced plots, which can barely be summed up here, but the structure is so dense that occasionally one feels one cannot enter. Nevertheless, this is intelligent, polished writing. For all collections. [Previewed in Prepub Alert, LJ 8/02]-Edward Cone, New York Copyright 2003 Cahners Business Information.
Kirkus Reviews
The life of the mind and the confusions of the spirit confront one another to often telling effect in Byatt's lavishly orchestrated eighth novel. This big, somewhat unruly book concludes the quartet Byatt began 25 years ago with The Virgin in the Garden (1978), which, along with its hefty successors, Still Life (1985) and Babel Tower (1996), focused with mandarin precision on the moral and intellectual growth of ever-optimistic Frederica Potter. As this story begins, Frederica, still hoping to become a writer, is employed as a television hostess and interviewer-a position that "educates" her through introductions to a society full of eccentrics, cranks, and obsessives. There's a hint of C.P. Snow's vast Strangers and Brothers series in the broad sociopolitical range, which extends to the minutiae of genetic research and computer science, the politics of higher education (including the establishment of a combative "anti-university," on the outskirts of an actual college), and a seeming epidemic of pathological violence, one instance of which produces a radical religious group that calls itself "Spirit's Tigers." A great deal of specific information is thus crammed into this formidably complex story, but the sometimes oppressively learned Byatt has a compensatory gift for locating what she has elsewhere called "passions of the mind" in vivid and interesting characters-painstakingly real, searching ones like the well-meaning (and genuinely intelligent) Frederica and her brother Marcus, a compassionate, thoughtful scientist-and flamboyant Dickensian grotesques, including New Age psychoanalyst Elvet Gander, pop poet of the moment Mickey Impey, and fundamentalist charismatic "Josh Lamb," amuscular Christian with a murderous agenda. Images of blood and fire are worked (rather laboriously) into the narrative, yet whenever the reader's brain isn't simply too overburdened, A Whistling Woman excites and satisfies, because Byatt has learned from her idol Iris Murdoch the technique of creating characters whose obsessions appear to rise from deep within, and appropriate their rich, mysterious personalities. Not a perfect work, but an unarguably major one. Byatt's quartet is well worth the time and attention it demands.
From the Publisher
“Full of new energy and a sense of new directions…It is always tempting, with this novelist, to talk about the ideas or the observations, unfailingly rich and tantalizing. The superb mastery of it, however, is in what Arnold Bennett would have admired: the skill of the novelist with character, story, world. The plot has a driving ferocity, the huge and extraordinary cast marshaled with exceptional dexterity. The physical details are effortlessly redolent of the period, and exactly evocative of the individual psychology…This is a novel with grand, general interests, but the mastery over the particular never flags…This is a novel, a cycle of novels, a body of work for the rest of your life.” -- Philip Hensher, The Spectator

“A. S. Byatt has often been accused of intellectual over-egging, of a clever cleverness that overshadows plot and character. It’s a question of balance which every serious novelist attempting to write, in Byatt’s words, ‘about the life of the mind as well as of society and the relations between people’ must resolve. Possession achieved this brilliantly. Her new novel, A Whistling Woman, comes close too. In this concluding installment [of her quartet of novels], Byatt blends her own excitement at ‘intellectual curiosity of any kind’ with a lucid narrative and gripping plot…I suspect her fans will be hoping for a fifth.” –Kate Bingham, Independent

“Byatt’s intellectual adventure is full of energy and vitality…[with] solid delights, keen and demanding pleasure.” –Allan Massie, The Scotsman

“The comparison between George Eliot’s writing and that of Byatt has been frequently and justly made. Byatt’s four novels are complex, lively, muscular, moral and rather masculine books whose celebration of cleverness and strong feeling is intensely invigorating. I hope this isn’t really the last of them.” -- Jane Shilling, Evening Standard

“Byatt is unusual not in combining the roles of scholar and writer, but in insisting on their duality loudly, publicly and in the fabric of her fiction…At her best -- and this latest is among her best -- she is someone intimately acquainted with grief. She knows its violence and its faltering retreat. This, ultimately, is the grandeur of her novels.” -- Ruth Scurr, Times Literary Supplement

“The life of the mind and the confusions of the spirit confront one another to often telling effect in Byatt’s lavishly orchestrated eighth novel…A Whistling Woman excites and satisfies, because Byatt has learned from her idol Iris Murdoch the technique of creating characters whose obsessions appear to rise from deep within, and appropriate their rich, mysterious personalities…Byatt’s quartet is well worth the time and attention it demands.” -- Kirkus (starred review)

“The last in Byatt’s magnificent quartet of novels on intellectual life and thought in the 1950s and 1960s, A Whistling Woman can be read on its own. Rich in metaphor and glancing allusion, it is a tale of learning and anti-learning, sects and cults, the complex sexual relationships of humans and snails. [It is] predominantly a novel of ideas. Not about politics, foreign or domestic, but about philosophy, psychology and literature; the excitement of genetics and computer science edging towards their breakthroughs…pulling you along. It makes a fine conclusion to the quartet.” -- The Economist

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Product Details

  • ISBN-13: 9780679776901
  • Publisher: Knopf Doubleday Publishing Group
  • Publication date: 4/13/2004
  • Series: Vintage International Series
  • Edition description: Reprint
  • Pages: 448
  • Sales rank: 999,404
  • Product dimensions: 5.20 (w) x 8.00 (h) x 1.00 (d)

Meet the Author

A. S. Byatt
A.S. Byatt, author of the Booker Prize-winning Possession, is internationally acclaimed as a novelist, short story writer and critic. Her most recent fiction outside this tetralogy is The Biographer’s Tale, a novel, and Elementals, a collection of short stories. She was created a Dame of the British Empire in 1999.
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    1. Also Known As:
      Antonia Susan Drabble Byatt (full name)
    2. Hometown:
      London, England; France
    1. Date of Birth:
      August 24, 1936
    2. Place of Birth:
      Sheffield, England
    1. Education:
      B.A., Newnham College, Cambridge, 1957; graduate study at Bryn Mawr College and Somerville College

Read an Excerpt

Chapter 1

... “This is the last tree,” said the thrush. The last tree was a dwarf thorn, its black branches shaped one way by the wind, pointing back the way they had come. “Formerly,” said the thrush, “there was a last tree further out. And in earlier times there was a stunted wood, the Krumholz. The waste is advancing.”

They looked into iron twilight. They could barely make out the bluff where the wood had once been rooted.

“No one goes out there,” said the thrush. “In former days, there were travellers, until winter set in. But now they are afraid of the Whistlers. The winters have lengthened. And in the light days the land is infested by the Whistlers.”

“The place we seek is on the other side,” said Artegall. “According to the maps and the histories. We must go, and quickly, before winter sets in.”

“And before the hunters catch up with us,” said Mark.

“No one has set out, or come from there, in my life-time,” said the thrush, fluffing out his spotted feathers. His life-time was not very long, and his territory was small. He was a wiry, thick-quilted thrush.

“What is the land like?” asked Artegall.

“Scrub and stones, mosses, and lichens, deep pools with ice-covers, frozen rivers. There are white creatures there, I've been told, that scutter in the snow and hide in holes. And slick, grey efts, in the pools. They used to say the lichens were edible, if not palatable. All hearsay. I haven't been there.”

“And the Whistlers?”

“No one has seen them andlived,” said the thrush. “Indeed, to hear them is mostly fatal. They fly or glide like grey shadows and make a sound--a sound--”

“A sound?”

“So it is said, a high, whistling sound, at the extreme edge of what any creature can hear, yet all must hear it. A dog can hear whistles that you hear as disturbed silence. But these creatures have the power to pierce any ear--bird and man, bear and snowcock, even your sleeping stone reptile who appears to be lifeless.”

Artegall looked at Dracosilex, who had shown no sign of life since the Bale Fires of the last village.

“I could do with his counsel,” said Artegall. “If he could be wakened.”

“If the Whistlers woke him,” said the thrush, “you would not live to hear his counsel. And your bones would be picked in an instant.”

They built a shelter near the last tree, and set up their tents, before night fell. Noises howled and hummed round them, fine, glassy sounds and a regular quavering boom, and the icy blasts of the wind, blowing and flowing over the dry rattling twigs of the last tree. There were also shrill notes that could have been whistling, human or inhuman. Mark said that he had heard that the porpoises and the dolphins sang to each other in the blue summer waters of the south, from which they had come. “There is needles and knives in this wind,” said Dol Throstle. “And talons and claws.” They chewed dried meat, and sweet dried grapes, too few, gone too quickly.

In the morning a fine dry snow fell, gusting and eddying in the wind. They could not see very far. They discussed who should scout and who should stay. Mark asked if Artegall's geography books had contained maps of this land. There were a few maps of the Northern Empire, he said, vague shapeless spaces with a few rivers and many drawings of fabulous beasts, with twenty legs, or curving claws. It was written, White Waste. I remember one or two trails without issue, and arrows pointing out of the page, To the North. The pages were very richly decorated, bordered with golden apples and crimson cherries and emerald vine-leaves. And iron axes, and flakes of fire.

Dol Throstle remembered how Mark the page-boy had mocked the young prince at the outset, with his stories of the books of venery, history, geography, dutifully committed to memory in the study-prison of his white tower in the south. And how Artegall's knowledge had led them through forests, and his languages had made it possible to speak to strangers, and his books of tracking and stalking had found food in hard places. And Mark for his part had taught Artegall the knack of tickling trout, and stealing from bees, and chattering like a naif lad to soldiers in inns. And now they were no longer prince and whipping-boy and nursemaid, but three leathery, weathered creatures, all muscle and quickened eyes, bundled in borrowed skins. A snake had taught Artegall the language of the beasts, but they were all, Dol thought, part of the animal kingdom now, they could melt into woodland like foxes, lie lost in grassland like hares, they could flow along hillsides like wolves.

Mark said they could not travel at night, using the stars, because of the cold.

And then they heard, for the first time, in the noises of the wind and the clack of the twigs, the whistle, that rose and fell and then rose and rose, out of pitch, so they knew they were still hearing it though the sound disturbed only their brains. And Dol's courage failed, and she thought she was a fool and a madwoman to bring two mere boys so far, in search of a kingdom that was perhaps only a fantasy out of legend. And Mark thought, numbed, that this time maybe there was no way forward, only snow-blindness and frost-bite, and behind were the steady hunters, beating them out of cover like fowls. And Artegall thought that the voices were terrible, and would destroy the brain in the skull. And then the sound died down, and released them. Artegall had the idea of making little balls of lambswool to put in their ears, under their skin hoods.

In the morning the two boys set out, leaving Dol under the thorn. “If we do not come back within three days,” said Artegall, “you must turn back. The soldiers may not harm you if I am not there.”

“Nonsense,” said Dol. “I will come after you, whatever may befall. I am no mean tracker, by now.”

They found, after a mile or two of careful advance over characterless scrub and crackling frost, that they needed their ears in the ice-gloom, both to test brittle crusts over deep crevices and to listen to the land, for footfalls, for the snap of branches, for the beat of wings. They found a kind of goat-path, among the little junipers and ling, which widened into a track. They stumped steadily on; Mark singled out prominent stones along the track which might be pointers, put there by human hands. The cloud-cover was lowering and thickening. They examined the stones, and found scratches--an arrow perhaps, a bird's-foot, three-toed, on one, and then on another. They decided if they found a third to turn back, and fetch Dol, and their provisions, and try this road. A little wind got up, and blew ice in their faces, in sharp splinters. They could hear singing in this wind. At first they did not speak of it, taking it for an interior humming, that kept time with their footsteps and the beat of blood. Mark said, in the end,

“Do you hear sweet voices in the wind?”

“So you hear them too. Voices, thin and high, and a kind of flute, or maybe another voice.”

“Maybe an ice equivalent of a mirage in a desert.”

“Maybe the voices of the Whistlers.”

“Or the spirits of their victims.”

They struggled on, and the track became less definite. There were no more markers. The wind pelted them with frozen snow. Mark said

“The singing is unbearably sad, unbearably--” and fell over in the snow behind Artegall. As Artegall turned, the perfectly-pitched music in his head turned to an undulating whistle. He reached to put the bulb of wool in his ears, fumbling with his fur-gloved fingers, before he knelt by his friend. The wool did not wholly exclude the whistling, but reduced it to a whisper of a shriek. And he saw them coming at him through the gloom, one, two, three, five, eight, thirteen of them, sailing on outstretched grey wings, almost indistinguishable from the cloud, their long, slender necks held out before them like swans', their thin legs trailing like herons', their bright beaks like curving scimitars, pale red-gold. They landed in a circle round the two, and Mark saw with horror that their faces above their beaks were human, that they had dark, human, forward-looking eyes under arched eyebrows, that their feather-hoods covered, or flowed into, long hair, which they shook out over their shoulders, that the legs above the bird-talons that struck and gripped the icy stones were human above the feathered ankles, that the bodies inside the great cloaks of grey pinioned wings were human, female, with high breasts and slender waists, but covered in white down. Artegall found that he could not move, though he could see and hear.

The Whistlers began a kind of strutting dance, moving stiffly on their claws, winding their long necks gracefully like charming serpents, bowing and pointing and singing at the two humans, on the white earth in the gathering darkness. Artegall understood that they were singing, over and under the terrible whistle, but he could make no sense of the words. He tried to listen as he listened to the speech of birds, and heard cackle and hiss; he tried to listen as he would listen to women, and heard meaningless babble of airy syllables. He saw then that their song was somehow spinning a cocoon of icy threads round and over his friend's body, like a glassy shroud hardening into a coffin. His own hands and feet were threaded with filaments which he was powerless to cast off. It came numbly to him, he must understand their language, or speak to them, or he must die. He listened as he had never listened in his life, and began to make out that their language, like their bodies, was a dreadful hybrid, feather-words and skin-words grown into each other, beak-words and tongue- and teeth-words fused. He could hear it, he could even construct it, by some terrible operation inside his own skull of simultaneous separation and stitching, so that he was, as it were, dividing the two fronts of a leather jerkin and then, between the two parts of his brain, threading them together with a thong of thought. “Pity,” he said, in this strange new speech, his tongue like leather. “Pity, women-birds, bird-women--kind--creatures--this--man--too--is--kind.” No hurt, he cried, small, promising and asking, no hurt. And one Whistler said

“He hears us.”

“I hear you.”

“He hears words in whistling.”

“I hear your words, Whistlers. I hear, I speak.”

He said, in bird speech, “The King of the snakes taught me this speech.” He said, in human speech, “Do not hurt us, we are lost, we mean good.” He repeated, in their speech, “I hear you, you hear me.” It was like a blade in the brain, dividing and touching both divided parts.

They stopped singing, then, and moved together in a circle, whistling to each other with bowed heads. They came back, and one, whistling hesitant and low, said

“We will carry you to a safe place for the night. We will not harm you. Do you hear me?”

“I can hear you.”

“We will carry your friend, too. He is not harmed. He will wake.”

They snatched up Mark, three pairs of claws, and flew away. Then Artegall felt the scaled grip, through all his furs, and the cold air inside his hood as they rose, and wheeled north, into the gathering dark and the blast of the wind. He knew no more.

He woke by a glowing fire, deep in a cave. Mark slept beside him, the ice-cocoon melted. The bird-women roosted on rocky ledges, preening grey wings with wicked beaks. They brought him soup, grey, bitter, gluey, in a tall jar. They gathered round and asked who he was, where he was going? He told them, for he saw no help in concealing it, who he was--Artegall, prince of Harena--and of his escape from the South when the black ships poured into the harbour, and of his companions, Dol Throstle, who was his nurse, and Mark, and some others, who had not survived. And he spoke of Hamraskir Kveld-Ulf, his father's legendary northern cousin, whom Dol had told him might provide a sure refuge from the spies and assassins sent out from Mormorea by Barbasangue. He said doubtfully that maybe the Northern Kingdom was only legend. Dol had spoken of it with certainty when she hid him in the laundry-cart, but the certainty had diminished with the rough journey. Maybe there was nothing north of the wasteland except ice-floes, and cold dancing lights.

“It is there,” said one of the Whistlers. Her name was Hvanvit. “In a valley in the ice-mountains, beyond this land. It goes by many names. Hofgarden, Harreby, Veralden. We call it Veralden. The kings of Veralden have always been powerful wizards. They are shape-shifters, who can become wolves, or bears, at will, and travel out into the badlands, watching the borders, talking to the wind-spirits, listening to the advances and retreats of the ice. In Veralden, only men were shape-shifters. Women stayed in the valley, spinning and teaching, tending fruit-trees and flowers. They never left the valley. We wanted to go out, we wanted the speed and the danger of the wind and the snow and the dark. We charmed a young student into parting with his knowledge, and we made feather-coats, as you see, and rode the storm-winds at night. We flew in, over the mountain-wall, before dawn, plaited our wild hair, put on gown and slippers, and went to sing sweetly to the fruit-trees. But we were spied on, by a traitress, and shamed. And an angry crowd burned our women's clothes outside the gates of Veralden, and almost burned us. But we put a little fear into them, and whistled in their minds, so that they merely drove us away like a flock of geese, calling us evil, and unclean. So we have lived here, where nothing lives, riding the winds, evading hunters and snow-eagles. We have grown angry because no one could hear our speech. Until you came.”

They talked into the night. Artegall listened courteously to their tales of grief and exile, and only then did he return to his own quest, and ask whether the king in Veralden was his kinsman, Hamraskir Kveld-Ulf. They said they believed so. They dared not approach the city. “But we will set you on your way,” said Hvanvit, “we will carry you over the wasteland and bring food for you. For we are not the most terrible danger you will meet on this journey--more terrible still are the ancient enemies, cold and dark and hunger. In all the time we have circled and swept over this land we have seen no one come across safely. We could show you bones, and men preserved in ice as though they slept, and proud horses, and sledge-dogs. When we tried to speak to them, our song proved mortal to their ears, until you came. Maybe you will speak of us, and our wanderings, to Hamraskir Kveld-Ulf when you come to him, if indeed you come there.”

Copyright© 2002 by A. S. Byatt
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Table of Contents

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Reading Group Guide


“Rich, acerbic, wise. . . . [Byatt] tackles nothing less than what it means to be human.” —Vogue

The introduction, discussion questions, suggested reading list, and author biography that follow are intended to enhance you group’s reading of A. S. Byatt’s A Whistling Woman, the final novel in the quartet, which includes The Virgin in the Garden, Still Life, and Babel Tower.

1. Frederica celebrates and explores the sexual and social freedom women experienced in the 1960s in her television broadcast entitled: “Free Women” [pp. 144–152]. How do the three “free” women in the novel, Frederica, Agatha, and Jacqueline, experience and express their freedom, sexual and otherwise? How is their freedom limited? How do the resolutions regarding the two pregnancies in the novel reflect on women’s (sexual) freedom? Why do the women in the novel all keep their relationships secret, and how does this secrecy reflect on their freedom? Does the novel ever answer Frederica’s question, “What do women want?” [p. 153]? What about her later question, “Who is it that can tell me who I am?” [p. 336]?

2. How do the subjects of Frederica’s television shows amplify certain events or themes of the novel? For example, what is the significance of the images of light and mirrors that appear throughout the novel, such as in the theme of Frederica’s television show (Alice in Wonderland) or, as the first broadcast is entitled, “Through the Looking-Glass” [pp. 140–41] and again in the Manichaean religion as interpreted by the Dun Vale Hall cult [see pp. 234-240, for example]?

3. Would Frederica’s television shows be successful in contemporary society? Would they have even been successful in the United States? What do the reactions of the different characters in the novel to Frederica’s shows reveal about television’s role in society? What view of television does the author intend to convey by having the cult members join Joshua Lamb to watch the static on television on his so-called “Night Watches” [pp. 317–18]?

4. Why does Byatt go into such great depths to develop the evolution of Joshua Ramsden/Lamb’s character? How is religion both his salvation and his downfall? What is Byatt’s commentary on religion, and is religion effective as a tool to make people’s lives better? What is Byatt’s commentary on psychology, and its effectiveness as a tool to cure mental illness?

5. How does religion differ from cult ideology in the novel? How does group behavior differ from individual behavior? What do Brenda’s and Elvet’s letters reveal about cult mentality? Is there an implied parallel between the camp set up by the Anti-University on one side of the University, and the cult being established at Dun Vale Hall on the other side? Why do certain characters remain outside of these “groups” while others are drawn into them? How is group behavior juxtaposed with the intellectual life of Luk or Jacqueline or Frederica?

6. In the debate between genetic determinism and free will that runs through the novel, what does the Ottokar twins’ symbiotic existence prove or disprove? Why does John Ottokar object to Luk Lysgaard-Peacock’s studies of the “cost” of normal sexual reproduction [p. 330]? What impact might Luk’s studies have on contemporary views on genetics and reproduction?

7. Does the syllabus for the Conference on Body and Mind demonstrate that science and humanities subjects are interrelated? Does Byatt’s interweaving of plot and characters support the argument that art, science, religious life, and intellectual life are all interwoven and interconnected? How are the scientists compared to and contrasted with the artists in the novel? Which group is better situated to understand or comment upon human behavior? How does Frederica’s television show compare to the Body and Mind Conference as a forum for ideas?

8. Frederica meditates, “All the recent movements—the student Left, the dreamier counter-culture, the religious communities, had seen the nuclear family as a static thing, a source of oppression, the wrong kind of social form and structures. Who is the father was an outdated Victorian question” [p. 422]. Does the resolution of A Whistling Woman affirm or denounce these counter-family movements of the 1960s or affirm a traditional family structure or neither? Is it significant that the seemingly perfect new “family” formed by Agatha, Saskia, Frederica, and Leo [p. 13] dissolves by the end of the book with Agatha forming a more traditional family with Gerad Wijnnobel [p. 423]?

9. The lecture schedules of the Anti-University participants were blown from the marquees and shredded, and the shreds were blown into trees. Of these scraps, Byatt writes, “Some of the more mystical Anti-Universitarians thought these bleaching strips represented Tibetan prayer-rags. Others thought they were not nice and represented the last vestige of capitalist conspicuous waste. No one fetched a ladder to take them down” [p. 287]. And of student protestor Nick Tewfell, Byatt writes that many years later he became a cabinet minister in Tony Blair’s cabinet [p. 377] What is the tone of these passages and does it convey the author’s opinion of the student protestors? How do the University administrators and mainstream academics view the Anti-Universitarians? Can one body exist without the other?

10. Who are the Whistlers in Agatha’s fable and what do they symbolize? Is it significant, in light of Luk’s studies of bower birds, that the Whistlers chose the bodies of birds, rather than some other animal? Why does Luk tell Frederica to “whistle harder. Louder” [p. 417]?

11. In what ways is Byatt’s novel stylistically both traditional and contemporary? How does Byatt use different voices, both in letters and in dialogue, to vary the texture of the novel and move the plot along? Is Frederica a modern heroine?

12. Daniel gives Frederica his opinions about the ending of Shakespeare’s late comedies: “The human need to be mocked with art—you can have a happy ending, precisely because you know in life they don’t happen, when you are old, you have a right to the irony of a happy ending—because you don’t believe it” [p. 401]. Is the reader to interpret the ending of the novel in this light, or is Daniel just being a pessimist? Does the novel have a “happy ending”?

13. Does Vincent Hodgkiss experience homosexuality in a university setting differently than he might have outside of a university [p. 297]? Is Byatt’s description of his ascetic life [p. 298] uniquely homosexual or could it also describe a heterosexual life? Does it apply to any of the other characters in the novel? Is this type of life fulfilling on either an intellectual or an erotic level?

14. The list of names of Byatt’s characters is amusing and ironic: Elvet Gander; Avram Snitkin; Paul-Zag; Joshua Ramsden/Lamb; Lyon Bowman; Waltraut Ross; Jonty Surtees; Luk Lysgaard-Peacock; Gideon and Clemency Farrar; and on it goes. How do the characters’ names reflect their personalities and their role in the novel? Does the explanation of the origin of Ramsden’s name prove its significance or its absurdity [p. 116]?

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  • Anonymous

    Posted January 30, 2003

    The Sixties Redux

    This beautifully written novel packed with characters becomes a bit much by its midpoint and I did not want to read the second half. Readers who loved Byatt's "Possession" will not necessarily enjoy this book, which is almost in the style of Iris Murdoch, but not quite. This is a revisiting of the Sixties, British style, and it's a trip which some may not want to take. Nontheless, reading even a portion of this book was a rewarding experience which I recommend.

    1 out of 1 people found this review helpful.

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    Posted August 9, 2010

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    Posted December 19, 2009

    No text was provided for this review.

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