The Children's Book by A. S. ByattThe Children's Book by A. S. Byatt

The Children's Book

byA. S. Byatt

Paperback | November 3, 2009

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From the renowned author of Possession, The Children’s Book is the absorbing story of the close of what has been called the Edwardian summer: the deceptively languid, blissful period that ended with the cataclysmic destruction of World War I. In this compelling novel, A.S. Byatt summons up a whole era, revealing that beneath its golden surface lay tensions that would explode into war, revolution and unbelievable change — for the generation that came of age before 1914 and, most of all, for their children.

The novel centres around Olive Wellwood, a fairy tale writer, and her circle, which includes the brilliant, erratic craftsman Benedict Fludd and his apprentice Phillip Warren, a runaway from the poverty of the Potteries; Prosper Cain, the soldier who directs what will become the Victoria and Albert Museum; Olive’s brother-in-law Basil Wellwood, an officer of the Bank of England; and many others from every layer of society. A.S. Byatt traces their lives in intimate detail and moves between generations, following the children who must choose whether to follow the roles expected of them or stand up to their parents’ “porcelain socialism.”

Olive’s daughter Dorothy wishes to become a doctor, while her other daughter, Hedda, wants to fight for votes for women. Her son Tom, sent to an upper-class school, wants nothing more than to spend time in the woods, tracking birds and foxes. Her nephew Charles becomes embroiled with German-influenced revolutionaries. Their portraits connect the political issues at the heart of nascent feminism and socialism with grave personal dilemmas, interlacing until The Children’s Book becomes a perfect depiction of an entire world.

Olive is a fairy tale writer in the era of Peter Pan and Kenneth Grahame’s The Wind In the Willows, not long after Alice’s Adventures in Wonderland. At a time when children in England suffered deprivation by the millions, the concept of childhood was being refined and elaborated in ways that still influence us today. For each of her children, Olive writes a special, private book, bound in a different colour and placed on a shelf; when these same children are ferried off into the unremitting destruction of the Great War, the reader is left to wonder who the real children in this novel are.

The Children’s Book is an astonishing novel. It is an historical feat that brings to life an era that helped shape our own as well as a gripping, personal novel about parents and children, life’s most painful struggles and its richest pleasures. No other writer could have imagined it or created it.

From the Hardcover edition.
A.S. Byatt is internationally acclaimed as a novelist, short-story writer and critic. Her books include Possession and the quartet of The Virgin in the Garden, Still Life, Babel Tower and A Whistling Woman. She was appointed Dame of the British Empire in 1999.From the Hardcover edition.
Title:The Children's BookFormat:PaperbackDimensions:624 pages, 9.2 × 6.1 × 1.31 inPublished:November 3, 2009Publisher:Knopf CanadaLanguage:English

The following ISBNs are associated with this title:

ISBN - 10:0307398080

ISBN - 13:9780307398086

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Rated 1 out of 5 by from No thanks This book was horribly boring. I forced myself to finish it in case it got better but no luck. The story just rambles on and on. As soon as you think a story line is going somewhere it drops off and something else comes along. A long slow annoying read.
Date published: 2017-03-13
Rated 3 out of 5 by from Really well written Very well written. Its character-driven (as opposed to plot-driven, which is more up my alley), and the ending is perfect.
Date published: 2012-01-03

Read from the Book

Two boys stood in the Prince Consort Gallery, and looked down on a third. It was June 19th, 1895. The Prince had died in 1861, and had seen only the beginnings of his ambitious project for a gathering of museums in which the British craftsmen could study the best examples of design. His portrait, modest and medalled,was done inmosaic in the tympanum of a decorative arch at one end of the narrowgallery which ran above the space of the South Court. The South Court was decorated with further mosaics, portraits of painters, sculptors, potters, the "Kensington Valhalla." The third boy was squatting beside one of a series of imposing glass cases displaying gold and silver treasures. Tom, the younger of the two looking down, thought of Snow White in her glass coffin. He thought also, looking up at Albert, that the vessels and spoons and caskets, gleaming in the liquid light under the glass, were like a resurrected kingly burial hoard. (Which, indeed, some of them were.) They could not see the other boy clearly, because he was on the far side of a case. He appeared to be sketching its contents.Julian Cain was at home in the South Kensington Museum. His father, Major Prosper Cain, was Special Keeper of Precious Metals.Julian was just fifteen, and a boarder at Marlowe School, but was home recovering from a nasty bout of jaundice. He was neither tall nor short, slightly built, with a sharp face and a sallow complexion, even without the jaundice. He wore his straight black hair parted in the centre, and was dressed in a school suit. Tom Wellwood, boyish in Norfolk jacket and breeches, was about two years younger, and looked younger than he was, with large dark eyes, a soft mouth and a smooth head of dark gold hair. The two had not met before. Tom's mother was visiting Julian's father, to ask for help with her research. She was a successful authoress of magical tales. Julian had been deputed to show Tom the treasures. He appeared to be more interested in showing him the squatting boy."I said I'd show you a mystery.""I thought you meant one of the treasures.""No, I meant him. There's something shifty about him. I've been keeping an eye on him. He's up to something."Tom was not sure whether this was the sort of make-believe his own family practised, tracking complete strangers and inventing stories about them. He wasn't sure if Julian was, so to speak, playing at being responsible."What does he do?""He does the Indian rope trick. He disappears. Now you see him, now you don't. He's here every day. All by himself. But you can't see where or when he goes."They sidled along the wrought-iron gallery, which was hung with thick red velvet curtains. The third boy stayed where he was, drawing intently. Then he moved his position, to see from another angle. He was hay-haired, shaggy and filthy. He had cut-down workmen's trousers, with braces, over a flannel shirt the colour of smoke, stained with soot. Julian said"We could go down and stalk him. There are all sorts of odd things about him. He looks very rough. He never seems to go anywhere but here. I've waited at the exit to see him leave, and follow him, and he doesn't seem to leave. He seems to be a permanent fixture." The boy looked up, briefly, his grimy face creased in a frown. Tom said"He concentrates.""He never talks to anyone that I can see. Now and then the art students look at his drawings. But he doesn't chat to them. He just creeps about the place. It's sinister.""Do you get many robberies?""My father always says the keepers are criminally casual with the keys to the cases. And there are heaps and heaps of stuff lying around waiting to be catalogued, or sent to Bethnal Green. It would be terribly easy to sneak off with things. I don't even know if anyone would notice if you did, not with some of the things, though they'd notice quickly enough if anyone made an attempt on the Candlestick.""Candlestick?""The Gloucester Candlestick. What he seems to be drawing, a lot of the time. The lump of gold, in the centre of that case. It's ancient and unique. I'll show it to you. We could go down, and go up to it, and disturb him." Tom was dubious about this. There was something tense about the third boy, a tough prepared energy he didn't even realise he'd noticed.However, he agreed. He usually agreed to things. They moved, sleuthlike, from ambush to ambush behind the swags of velvet. They went under Prince Albert, out onto the turning stone stairs, down to the South Court. When they reached the Candlestick, the dirty boy was not there."He wasn't on the stairs," said Julian, obsessed.Tom stopped to stare at the Candlestick. It was dully gold. It seemed heavy. It stood on three feet, each of which was a long-eared dragon, grasping a bone with grim claws, gnawing with sharp teeth. The rim of the spiked cup that held the candle was also supported by open-jawed dragons with wings and snaking tails. The whole of its thick stem was wrought of fantastic foliage, amongst which men and monsters, centaurs and monkeys, writhed, grinned, grimaced, grasped and stabbed at each other. A helmeted, gnomelike being, with huge eyes, grappled the sinuous tail of a reptile. There were other human or kobold figures, onein particular with long draggling hair and a mournful gaze. Tom thought immediately that hismotherwould need to see it. He tried, and failed, to memorise the shapes. Julian explained. It had an interesting history, he said. No one knew exactly what it was made of. It was some kind of gilt alloy. Itwas probable that it had been made in Canterbury—modelled in wax and cast—but apart from the symbols of the evangelists on the knop, it appeared not to be made for a religious use. It had turned up in the cathedral in Le Mans, from where it had disappeared during the French Revolution. A French antiquary had sold it to the Russian Prince Soltikoff. The South KensingtonMuseum had acquired it from his collection in 1861. There was nothing, anywhere, like it.Tom did not know what a knop was, and did not know what the symbols of the evangelists were. But he saw that the thing was a whole world of secret stories. He said his mother would like to see it. It might be just what she was looking for. He would have liked to touch the heads of the dragons.Julian was looking restlessly around him. There was a concealed door, behind a plaster cast of a guarding knight, on a marble plinth. It was slightly ajar, which he had never seen before. He had tried its handle, and it was always, as it should be, since it led down to the basement storerooms and workrooms, locked."I bet he went down there.""What's down there?""Miles and miles of passages and cupboards and cellars, and things being moulded, or cleaned, or just kept. Let's stalk him."There was no light, beyond what was cast on the upper steps from the door they had opened. Tom did not like the dark. He did not like transgression. He said "We can't see where we're going.""We'll leave the door open a crack.""Someone may come and lock it. We may get into trouble.""We won't. I live here."They crept down the uneven stone steps, holding a thin iron rail. At the foot of the staircase they found themselves cut off by a metal grille, beyond which stretched a long corridor, now vaguely visible as though there was a light-source at the other end. The passage was roofed with Gothic vaulting, like a church crypt, but finished in white glazed industrial bricks. Julian gave the grille an irritated shake and it swung open. He observed that this, too, should have been locked. Someone was in for trouble.The passage opened into a dusty vault, crammed with a crowd of white effigies, men, women and children, staring out with sightless eyes. Tom thought they might be prisoners in the underworld, or even the damned. They were closely packed; the boys had to worm their way between them. Beyond this funereal chamber, two corridors branched. There was more light to the left, so they went that way, negotiated another unlocked grille, and found themselves in a treasure-house of vast gold and silver vessels, croziers, eagle-winged lecterns, fountains, soaring angels and grinning cherubs. "Electrotypes," whispered the knowledgeable Julian. A faint but steady light rippled over the metal, through little glass roundels let into the brickwork. Julian put his fingerto his lips and hissed to Tom to keep still. Tom steadied himself against a silver galleon, which clanged. He sneezed."Don't do that.""I can't help it. It's the dust."They crept on, took a left, took a right, had to force their way between thickets of what Tom thought were tomb railings, surmounted by jaunty female angel-busts,with wings and pointed breasts. Julian said they were cast-iron radiator covers, commissioned from an ironmaster in Sheffield. "Cost a packet, down here because someone thought they were obtrusive," he whispered. "Which way now?"Tom said he had no idea. Julian said they were lost, no one would find them, rats would pick their bones. Someone sneezed. Julian said"I told you, don't do that.""I didn't. It must have been him."Tom was worried about hunting down a probably harmless and innocent boy. He was also worried about encountering a savage anddangerous boy.Julian cried "We knowyou're there. Come out and give yourself up!"He was alert and smiling, Tom saw, the successful seeker or catcher in games of pursuit.There was a silence. Another sneeze. A slight scuffling. Julian andTom turned to look down the other fork of the corridor, which was obstructed by a forest of imitation marble pillars, made to support busts or vases. A wild face, under a mat of hair, appeared at knee height, framed between fake basalt and fake obsidian."You'd better come out and explain yourself," said Julian, with complete certainty. "You're trespassing. I should get the police."The third boy came out on all fours, shook himself like a beast, and stood up, supporting himself briefly on the pillars. He was about Julian's height. He was shaking, whether with fear or wrath Tom could not tell. He pushed a dirty hand across his face, rubbing his eyes, which even in the gloom could be seen to be red-rimmed. He put his head down, and tensed. Tom saw the thought go through him, he could charge the two of them, head-butt them and flee down the corridors. He didn't move and didn't answer."What are you doing down here?" Julian insisted."I were hiding.""Why? Hiding from who?""Just hiding. I were doing no harm. I move carefully. I don't disturb things.""What's your name? Where do you live?""My name's Philip. Philip Warren. I suppose I live here. At present."His voice was vaguely north country.Tomrecognised it, but couldn't place it. He was looking at them much as they were looking at him, as though he couldn't quite grasp that they were real. He blinked, and a tremor ran through him. Tom said"You were drawing the Candlestick. Is that what you came for?""Aye."He was clutching a kind of canvas satchel against his chest, which presumably contained his sketching materials. Tom said"It's an amazing thing, isn't it? I hadn't seen it before."The other boy looked him in the eye, then, with a flicker of a grin."Aye. Amazing, it is."Julian spoke severely."You must come and explain yourself to my father.""Oh, your father. Who's he, then?""He's Special Keeper of Precious Metals.""Oh. I see.""You must come along with us.""I see I must. Can I get my things?""Things?" Julian sounded doubtful for the first time. "You mean, you've been living down here?""S'what I said. I got nowhere else to go. I'd rather not sleep on t'streets. I come here to draw. I saw the Museum was for workingmen to see well-made things. I mean to get work, I do, and I need drawings to show . . . I like these things.""Can we see the drawings?" asked Tom."Not in this light. Upstairs, if you're interested. I'll get my things, like I said."He ducked, and began to make his way back amongst the pillars, crouching and weaving expertly. Tom was put in mind of dwarves in mine-workings, and, since his upbringing was socially conscientious, of children in mines, pulling trucks on hands and knees. Julian was on Philip's heels. Tom followed."Come in," said the grimy boy, at the opening of a small storeroom, making a welcoming gesture, possibly mocking, with an arm. The storeroom contained what appeared to be a small stone hut, carved and ornamented with cherubim and seraphim, eagles and doves, acanthus and vines. It had its own little metal gate, with traces of gilding on the rusting iron."Convenient," said Philip. "It has a stone bed. I took the liberty of borrowing some sacks to keep warm. I'll put 'em back, naturally, where I found them.""It's a tomb or shrine," said Julian. "Russian, by the look of it. There must have been some saint on that table, in a glass case or a reliquary.He might still be in there, underneath, his bones that is, if he wasn't incorrupt.""I haven't noticed him," said Philip, flatly. "He hasn't bothered me."Tom said "Are you hungry? What do you eat?""Once or twice I got to help in the tea-room, moving plates and washing them. People leave a lot on their plates, you'd be surprised. And the young ladies from the Art School took notice of my drawings and sometimes they passed me a sandwich. I don't beg. I did steal one, once, when I was desperate, an egg-and-cress sandwich. I were pretty sure theyoung lady had no intention of eating it."He paused."It isn't much," he said. "I'm hungry, yes."He was rummaging behind the tomb in the shrine, and came out with another canvas satchel, a sketch-book, a candle stub and what looked like a roll of clothing, tied with string."How did you get in?" Julian persisted."Followed the horses and carts. You know, they turn in and drive down a ramp into these underground parts. And they unload and pack things with a deal of bustle, and it's easy enough to mingle wi' them, wi' the carters and lads, and get in.""And the upstairs door?" Julian queried. "Which is meant to be locked at all times.""I came across a little key.""Came across?""Aye. Came across. I'll give it back. Here, take it."Tom said"It must be horribly frightening, down here alone at night.""Not near so frightening as t'streets in t'East End. Not near."Julian said "Please come with me now. You must come and explain all this to my father. He's talking to Tom's mother. This is Tom. Tom Wellwood. I'm Julian Cain."From the Hardcover edition.

Bookclub Guide

1. What do Olive Wellwood’s fairy stories, presented in the text in italics, add to The Children’s Book?2. There are some very different women in the book, from the dreamy, absent Seraphita to Phillip’s practical sister Elsie. With these portraits, what is A.S. Byatt saying about women and women’s roles in English society?3. Violet asks, under her breath: “Who is a child’s real mother? The one who feeds it, and cleans it, and knows its little ways, or the one who leaves it in the nest to do as best it can . . . ?” How is this question explored in The Children’s Book?4. What is the importance of sexuality to The Children’s Book? What is behind Olive’s response to Humphrey’s liaisons, or his attack on Dorothy, or Dorothy’s eventual link with Gabriel? Do you feel sexuality has changed since the era the book depicts and, if so, how?5. Who is your favourite character in The Children’s Book and why? How does this character change over the course of the book and why?6. If you have read A.S. Byatt’s previous novels, such as Possession, how do they compare to The Children’s Book? What is she trying to explore here that is different and how is her method similar or distinct this time around?7. How do the characters in this book experience death? What is the importance of suicide in the novel?8. How are Germany and relations between English people and Germans significant in The Children’s Book? What do these elements add to the story?9. Discuss the theme of childhood, or childishness, in the novel.10. How do you feel at the end of the book and why?11. Explore and describe the structure of the novel. How do events follow each other? Which characters come to the forefront or recede? How does A.S. Byatt manage to juggle so many characters and situations without confusing the reader or losing the reader’s interest?12. The Children’s Book includes some memorable locations, particularly the Tree House, Purchase House and Todefright. How are they different? How does each matter to the story?13. How is the era depicted in The Children’s Book similar to and different from our own? Is A.S. Byatt trying to tell us anything about our own time with her portrait of the Wellwoods’ time?14. What is the significance of performance and theatre in The Children’s Book? You might discuss puppet theatre and Shakespeare as well as the importance of performance in daily life.15. What is ‘The Children’s Book’ referred to in the title, really?16. In what ways, if any, is The Children’s Book an old-fashioned novel? In what ways is it original? Which other books does it make you think of?17. What do the occasional historical summaries (e.g. “1896 was a gloomy year. William Morris died in October . . .”) add to the novel?18. If you could ask A.S. Byatt one question about this book, what would it be?

Editorial Reviews

“May well be her masterpiece…. The kind of novel that can remind us why we fell in love with books and literature in the first place.”— The Gazette“Proves yet again what a force she is…. Remarkable, peerless, and wilfully and delightfully and unapologetically intellectual, the kind of writer who makes you marvel at what she manages to put on the page.”— The Herald “Byatt’s novel combines meaty ideas with the breathless page-turning propulsion of an old-fashioned saga…. Brimming with intelligence and sensuality, this is the perfect summer book.”— Metro UK (Book of the Week)“This book made me thirsty: Whenever I put it down, it nagged me to pick it up again…. Monumental, pure, beautiful…. After more than 40 years of writing, Byatt can still breathe magical life into historical fiction, giving her abiding interests new relevance with each work.”— The Globe and Mail“The Children’s Book is a consummate work of art.”—Scotland on Sunday“Easily the best book Byatt has written since the Booker-winning Possession.”— The Sunday Times “Magnificent loquacity…. Gripping and often deeply affecting.”— Literary Review“Compulsively readable…. This extraordinarily rich book is superbly embedded in the thoughts and beliefs and feelings of the period — and indeed in its interior décor.”— The Spectator“You can count on A.S. Byatt to produce an engrossing saga.”— Tatler“Enlightenment and social promotion and political advance in all its forms.”— New Statesman“Has a richness of a pictorial décor which reminds one of Edith Wharton’s The Age of Innocence.”— Evening Standard“Like Possession, it carries off the feat of being both a dazzling novel of ideas and an emotionally compelling page-turner, a historical work with a remarkably contemporary feel. One of our best writers has surpassed herself.”— The Gazette “The Children’s Book is a work that superlatively displays both enormous reach and tremendous grip…. Intellectual zest keeps the book sizzling with ideas. But it is alive with imaginative energy; too.”— The Sunday Times“An indefatigable storyteller…. never less than the real thing.”— The Irish Times “The sort of high concept rarefied intellectual fiction we’d expect from, well, A.S. Byatt.  Possession: the next generation.”— The Financial TimesFrom the Hardcover edition.