Winner of the Hurston/Wright Legacy Award
A gripping and inventive reimagining of Wuthering Heights, by award-winning author Caryl Phillips
In the tradition of Jean Rhys’s Wide Sargasso Sea and J. M. Coetzee’s Foe, Caryl Phillips revisits Emily Brontë’s masterpiece Wuthering Heights as a lyrical tale of orphans and outcasts, absence and hope. A sweeping novel spanning generations, The Lost Child tells the story of young Heathcliff’s life before Mr. Earnshaw brought him home to his family; the Brontë sisters and their wayward brother, Branwell; Monica, whose father forces her to choose between her family and the foreigner she loves; and a boy’s disappearance into the wildness of the moors and the brother he leaves behind.
Phillips deftly spins these disparate livesbound by the past and struggling to liberate themselves from itinto a stunning literary work. Phillips has been called “in a league with Toni Morrison and V. S. Naipaul” (Donna Seaman, Booklist), and his work is charged with the complexities of migration, alienation, and displacement. Haunting and heartbreaking, The Lost Child transforms a classic into a profound story that is singularly its own.
|Publisher:||Farrar, Straus and Giroux|
|Product dimensions:||5.60(w) x 8.40(h) x 1.10(d)|
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The Lost Child
By Caryl Phillips
Farrar, Straus and GirouxCopyright © 2015 Caryl Phillips
All rights reserved.
She likes to sit down by the docks in a place where sunlight can discover her face. Once there, she leans back and listens to the monotony of seawater lapping against the quayside, and she has no concept of the hour. She disturbs no one, but she hears footsteps passing in each direction. She is a woman in debt who can no longer find anyone willing to employ her at the loom; she is a diminished woman who, before her time, has yielded reluctantly to age and infirmity. They call her Crazy Woman, but she smiles and forgives them. It is spring, but winter is still in the air. She puts on a sad demeanour and fumbles at the hair buttons on her dark worn coat, and then she hears a penny drop into the box and she looks up and offers a toothless grin to the tall frock-coated man who is now walking away from her. She wants to tell the man that it hasn't always been like this, truly it hasn't. She wants to tell him, but to what purpose? The man wears a tight smirk of derision, which signals that he imagines himself more ingenious than anyone else, and who is she to argue? These are busy men. She hears the stiff wheels of a carriage turning laboriously against the cold flags and the noisy tattoo of horses clipping diligently towards their destinations. The incessant blasting of a ship's horn disturbs her reverie, but the sluggish rhythm of burbling water eventually begins to lull her into the receptive arms of slumber.
The seven-year-old boy stands over her and can see that she is asleep, but not at rest. The woman's body startles, then settles, and it is clear to the boy that pain has again established residence and has no desire to quit his mother's body. His has been a good day, and his box sings half full with a medley of coins, but he knows they must now leave, for soon it will be dark. He reaches down and takes her hand, which she snatches away from him. (I will kill you.) When she opens her eyes, the boy can see that she is suffering from an awkward upsurge of shame, for her harsh words have been misdirected, and her haul is woeful. The unblinking child stares back at her in a manner that suggests that the requirement that he bear responsibility for her well-being sits surely on his young shoulders, for after all, neither of them has any other companionship. People continue to walk by in both directions, and unable to disguise their loathing for the skeletal woman who is slumped against the ground, they simply avert their gazes. The poor boy hovers protectively over his afflicted mother, for she looks now as though she might, at any moment, abandon this discouraging world and attempt to gain access to the next.
She remembers long days in the West Indian fields digging with a rod of pointed iron under the burning sky; she remembers restless nights as black as soot listening for the sound of footsteps approaching the door and wondering whether tonight it would be her turn to be covered. But Master never came to her. (A Congo woman, too dark.) In the morning a skillet of Indian corn, or yams seasoned with peppers, would be thrust into her hut, and together with the others, she would leap up and tussle for the food like a wild beast. Having eaten, they would commence the march (Quick! Quick!) out to the fields for more digging, and weeding of grass, and gathering of stones until one day she was hoisted onto the back of a wagon full of sickly property and carried to the town square. The least of the female litter, she mounted a wooden platform and waited until all the others had been taken. She stood alone now, but the ship's captain eventually nodded without enthusiasm, and her short time in the Indies reached an abrupt conclusion.
On her journey to the Indies it was the rats that had inspired the greatest fear, for they fed with conviction and grew huge and profited handsomely from their passage. The human cargo was chained and manacled in the hold, where they rolled to the left and then back to the right, their rotations determined by the undulating waves, but on each occasion that the vessel dipped, the cargo received the blessing of a libation of slime. Soon they were too nauseated to eat, and most were too grief-stricken to cry, and she lay surrounded by the doleful mourning of those who rotted in the darkness. They whispered in plaintive tongues that were beyond the comprehension of her half-chewed ears, and they composed themselves for their own private journeys. During the second voyage she remained anchored to the splintered floor of the captain's cabin unless he had business with her. A crude depravity marked this man's crumpled brow, and she soon perceived that her captor was fired with a lust for unconditional obedience. His brutish appetite rose and fell like the ship, and at the termination of his cowardly attacks he would reshackle her and then reach for his pipe and smoke the tobacco that appeared to offer him some vestige of peace in mind and body. Moving even a little caused the chains to bite urgently at her wrists and ankles, and so she would simply curl up in her corner and watch as he began to blow plumes of smoke. It troubled her that the lengthy crossing was making her dull, and so, trembling like a palm leaf, she tried hard to recall the simple dignity of a bowl from which one might eat or the long-forgotten pleasure of a few breaths of clean, pure air.
How many years have I? She unseals her eyes and sees the boy trying once more to pull her upright, and she smiles. It is true, there is no dignity in lying slumped among a sea of masts. But look, vessels at anchor! Still, like her, and she feels grateful that her child is helping her. Now she is startled by the warm water between her legs, but she welcomes the sudden flush of heat. She knows this pleasant feeling will soon pass and only the stench and irritation will remain. (I'm sorry, my child, but tribulation is upon me, and I must sleep some more before standing. Please sit with me and keep me company for one hour more, this is all I ask. Just one hour, and then we two shall leave together.) She deeply resents the fact that these people look pitifully upon her son, whom she has ruined by the example of her own indolent misery. Their foolish tongues used to ask: Can the boy speak English? Can he dress hair? Is he sober? Is he fit to wait upon a gentleman? But no, no, no. She has seen the other boys, ornately attired in silks, with silver collars and satin turbans, walking behind fair ladies so they might attend to their mistresses' trains, or quickly administer smelling salts, or take charge of their fans. But other boys, not her child. Her son will never walk behind a fair lady. He looks down at her, his wide eyes brimming with a concern that threatens to spill over into tears. She can, however, detect that a strong and tenacious heart beats in his tiny body. This being the case, all is not lost.
* * *
As the pale sun sinks beneath the watery horizon, filth-encrusted sailors, ready to roister anew under the cover of darkness, appear from all directions. She never evokes any compassion from these men, who lurch confidently past her, their aura of superiority fed by excessive familiarity with rum and other strong liquors. The boy helps her to her feet, for they must leave before the quarter descends into violence. They stagger off, her feet clad in mismatched shoes that skid through fetid puddles of waste. (The sailors don't see me; they never see me.) Suddenly, the shoes are temporarily held captive in the unforgiving mud of an unpaved road, but she nevertheless struggles to remain womanly in her deportment. They press on and twist and turn through a tangled nest of cobbled streets, avoiding yawning doorways where slops may unexpectedly be thrown out, climbing laboriously up worn stone steps, ducking under low-hanging tavern signs, and averting their senses from the narrow entrances to cellars. The people who have buried themselves in these hovels will venture out only after nightfall to sit around a bonfire and drink and sing before retreating to their damp and crowded burrows, where body heat alone, surreptitiously stolen from a stranger, feeds the pulse of life.
Having reached their destination, she lies down on a handful of straw in a tiny room under the low roof. The broken windows are stuffed with brown paper and scraps of besmirched fabric, but the cacophony of noise still penetrates. She receives the drunken tidings of night, and she understands that the doglike howling and yelping from the Flying Horse Inn, which at all hours teems with degraded humanity, will persist until dawn. But what can she do? The wooden stairs that lead to this bleak attic room begin to creak, but she is not expecting anyone. (Is someone there?) Her son lifts a small finger to his lips and encourages her to be quiet. The dank wall is made visible by candlelight, and extended across its full breadth she can see the shadowy image of the boy's furtive gestures, but the intermittent rubbing of her irritated eyes now results in her closing them tight.
It hasn't always been this way. Before, having pushed back her wooden chair and swathed herself in a moth-eaten shawl, each evening she would set forth and leave behind the rattling and clacking of the looms. And each evening she would assume that this must be the day on which the lonely man has had to return to his inconvenient wife and children, but for almost a week her suitor has confounded her expectations and waited patiently by the gates with a small bunch of freshly picked flowers, which he presents to her with more extravagance than is necessary in the hope of gaining her approval. He walks with her and talks, and he understands that she is not blessed with pretty features, and he suspects that she would most likely freely admit this, but he knows that she possesses elegance, although undoubtedly some men see only a harlot as common as the dirt under their feet, a lamentable object they might use for either commerce or humour. He has seen these men, the desire for entertainment gleaming in their faces as they greedily watch the commotion of her dress against her hips. She steps back out of range as a large carriage with heavy wheels carves its way through the busy street and awakens clouds of dust, and then she walks, and he walks with her, and again he tries to solicit conversation, and finally, after a five-day campaign, she reluctantly agrees to accompany him to the back room of the Queen's Head tavern for supper.
They sit. There is no linen upon the table, and a narrow bed stands in one corner, but mercifully no eyes are upon them. (You must dine heartily, and I promise you will soon reap the benefits of doing so.) She accepts oatcakes and a little boiled mutton, and the serving boy brings chicken pie, beans, and a glass of Burgundy for her host, before ceasing his capering and once again closing in the door. (I am a man of some influence who has not yet entered the evening of my mortal span, yet I confess to being bedevilled of late by unpredictable bouts of melancholy.) His breath is unsavoury, but this aside, there is an inoffensive fragrance to the man in whom she discerns goodness. He is endowed with courtesy and displays a great delicacy of manners, and he seeks to engage her with his wit and not tax her with wearisome tales relating to his own standing. He admits to being puzzled by her situation but essays an observation. (A third homeland in one lifetime, and now you are intoxicated with liberty and perhaps thirsting for enlightenment? Does this represent your predicament?) She smiles. Not entirely. She admits to having been discarded by a sea captain and living without daylight in a place where to draw breath is to risk ruination, and he immediately offers her money with which she might obtain decent lodgings, but she refuses. (But you reside among whores and ruffians in the vile courts of this sometimes pestilent town.) She sees the frustration rise in his body, but she continues to smile.
She opens her eyes, for she can hear the rasping voice of a drunken ballad singer competing with that of a deep-throated pie vendor, both of whom congregate below in the echo chamber that is the narrow courtyard. The boy has squeezed himself against the wall, and the wood groans as the landlord now lumbers across the crooked floor. A simple scrap of carpet would have assisted with the chill, but it is too late. She watches the animated glow from the man's swinging lantern as the light searches for her figure. (Have you heard from your gentleman?) The landlord's slovenly wig has slipped sideways, and his forehead wears a circumspect frown. Her child crawls to her side and holds her arm. He looks defiantly at the man with ill-disguised scorn lighting up his young eyes, but his mother reassures him. (It's alright.) Seven bitter winters have passed since her son shouldered his way into the world on these grimy, uneven boards. Her gentleman paid for the doctor, but she worried that her child's father might now uncouple his affection as a result of the taint in his offspring's breeding. The landlord moves his lamp to improve his view of her face, which is coated in sweat as thick as oil. This man once radiated understanding, but his disposition is now much altered. He asks her, How many weeks must I wait? She no longer possesses the strength to draw her tongue across the speckling of blood on her mouth; she no longer enjoys the ability to smile.
* * *
The first time she saw the ghost quietly leaving her body she shook with fear, but he quickly reentered her. The ghost appears and disappears stealthily, like a halo of breath on a looking glass. She knows that soon the ghost will leave her frail body, and this time she will utter a series of long, shallow gasps and fall silent, and then follow him and begin her final voyage. But not yet. A single candle gutters in the draught, but its shimmer illuminates the obscurity allowing her to watch over her sleeping child, and again she feels her consciousness slipping away and the worrisome present subsiding into a peaceful dream. She lowers her heavy lids and abandons vigilance.
During their first apprehensive dinner her gentleman had been careful to admit to her that as far as ardent passions were concerned he was something of a novice. But by their second meal together she could observe it in his aspect that he felt emboldened. A small fire was her gentleman's gift of comfort to her, and they both studied the tiny flames as the serving boy added fresh logs and then raked up the loose waste from under the grate. After the boy closed in the door, her gentleman friend stood and crossed the room and drew the bolt. She could see that he was nervous, and some crumbs clung stubbornly to his chin, but he had forsaken drinking while he still remained in full custody of his sensibilities. She looked favourably upon him, convinced that integrity and kindness were lodged in his bosom. He removed his satin vest and lace ruffles with impeccable dexterity, which helped to soothe her own nervous condition. Then he came to her with the honest ardour of youth, and she made an earnest attempt to return his interest.
Although the considerate man took his time and let his fingers gently explore the soft curves of her body and whispered to her throughout, she was unable to prevent her mind from collapsing under the stress of memory. She found herself back on the ship with the captain stirring himself to quick, frenzied spasms, after which she was confined to her corner, where she prayed that he might now leave her alone. A civil frigidity entered the captain's voice as he commanded her not to submit to sulkiness, and then one morning the exasperated man ushered her to the foot of a steep staircase and then to the upper level, where she experienced a change of air. He pressed a guinea into her palm and, the ship having docked in the night, he pointed to the great port that lay spread out before them and turned her loose to find an occupation and seek shelter. It was some while before she moved off from the docks, being unsure if she was at liberty to walk abroad, and after a few hours of edging her uncertain way along bustling streets, a forthright workingwoman, with a fine white cloud of hair, came to her aid and made it her objective to help this lost soul reclaim her grit and establish a new home in this clamorous town of ships and sailors.
Excerpted from The Lost Child by Caryl Phillips. Copyright © 2015 Caryl Phillips. Excerpted by permission of Farrar, Straus and Giroux.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
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Table of Contents
II. FIRST LOVE,
III. GOING OUT,
IV. THE FAMILY,
IX. THE JOURNEY,
X. GOING HOME,
A NOTE ABOUT THE AUTHOR,
ALSO BY CARYL PHILLIPS,
Reading Group Guide
Renowned for his mesmerizing examinations of identity and power, the internationally acclaimed novelist Caryl Phillips now weaves a tale of modern exile with elements of Wuthering Heights. At the heart of The Lost Child is Monica Johnson, an Oxford student who is disowned by her parents after she falls in love with an expat graduate student. Through marriage and single motherhood, she struggles to survive, navigating a lifetime of false promises while her young sons try to understand their place in the world. Just as Heathcliff, one of literature's most enigmatic lost boys, is haunted by his past, Phillips's luminous characters reinvent themselves to emerge from a landscape and a community that are at once foreign and familiar to them.
Brimming with unforgettable narrators, The Lost Child gives voice to timeless longings, recounted with piercing clarity. The following guide is designed to enrich your experience of this literary tour de force.
1. As The Lost Child unfolded, how did the opening scene affect your reading? How is the image of Heathcliff's mother echoed in subsequent chapters?
2. The quest for social status and the pain of alienation drive much of the plot in Wuthering Heights. What might Emily Brontë have thought of the Johnson family?
3. What is at the root of Monica and Julius's attraction to each other? In what ways are they both "foreigners"?
4. In part IV, "The Family," Phillips provides a moving portrait of the Brontë sisters and their life with their brother and father. How did their fates influence your perception of the other characters in The Lost Child?
5. What is at stake for Ronald Johnson in his career and within his household? Why is he willing to turn his back on Monica? Does he abandon her, or does she abandon him? If you were Ronald's daughter, would you have complied with his wishes?
6. What aspirations and obligations shape Ruth's and Monica's approaches to motherhood? How do their experiences compare with those of Tommy and Ben's foster parents?
7. Discuss the title. In what ways are the novel's adult characters just as lost as the children? Do any of the characters truly ?nd their way home?
8. Do Lloyd Samuels and Julius have a realistic chance to transform their worlds? Why isn't Julius able to extend his quest for equality to women, acknowledging the hypocrisy in his treatment of Monica?
9. What role does education play in the characters' lives, from Ronald's pride when Monica is admitted to Oxford to the struggles Ben and Tommy face as schoolboys?
10. In part VI, "Childhood," the point of view shifts to Ben's. How does his narration change the tone of the novel? If you were going to create a sound track for your life's turning points, which songs would you choose?
11. Is Monica's relationship with Derek very different from her marriage to Julius? In part VIII, "Alone," what truths emerge about love and survival? Are Ben and Mandy the exception to the rules?
12. What cultural revolutions are captured in the novel, from Britain's colonial era through the aftermath of the 1960s? Do the characters illustrate the growth of freedom, or does liberation continually evade them?
13. What makes Tommy more vulnerable than his brother throughout his life? Does Ben wisely protect himself when he rebuffs Ronald, or does he miss an opportunity to receive comfort and security from his grandfather?
14. How does The Lost Child expand on the notions of identity and ancestry explored in Caryl Phillips's previous novels? How did The Lost Child enhance your enjoyment of Wuthering Heights?
Most Helpful Customer Reviews
I usually can mudder through most books but the writing in this one is stilted and choppy. The characters are miserable. The author needs to take some more creative writing courses. Readers need a good reason to want to keep going. I'm done before page 70.
Worst book I have ever attempted to read. The plot was undecipherable and the characters were a jumble of nutters.