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Lighthousekeeping, by Jeanette Winterson
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Lighthousekeeping tells the tale of Silver ("My mother called me Silver. I was born part precious metal, part pirate."), an orphaned girl who is taken in by blind Mr. Pew, the mysterious and miraculously old keeper of a lighthouse on the Scottish coast. Pew tells Silver stories of Babel Dark, a nineteenth-century clergyman. Dark lived two lives: a public one mired in darkness and deceit and a private one bathed in the light of passionate love. For Silver, Dark's life becomes a map through her own darkness, into her own story, and, finally, into love.
One of the most original and extraordinary writers of her generation, Jeanette Winterson has created a modern fable about the transformative power of storytelling.
- Sales Rank: #450960 in eBooks
- Published on: 2006-04-03
- Released on: 2006-04-03
- Format: Kindle eBook
From Publishers Weekly
It's hard to believe that Winterson's latest novel is even more lightweight than her previous one, The PowerBook, but here an orphan's romantic memories of growing up in a Scottish lighthouse are stretched to the limit with coy aphorisms. When her mother is blown away - literally possible on the savage Atlantic coast of Salts, Scotland - young Silver is sent to live with the lighthouse keeper at Cape Wrath, kind blind old Pew, who spins yarns, especially one about an early minister of Salts, Babel Dark, a Jekyll-and-Hyde type who's acquainted with contemporaries Darwin and Robert Louis Stevenson, and who cruelly betrays the woman he loves twice. When Silver grows up, Pew is discharged from his lighthouse duties in the name of progress, and trusty Silver sets off to look for him, ending up in Capri obsessed with a talking bird. Winterson attempts several stories within stories, switching narrators frequently, and relies heavily on the metaphor of storytelling as elucidation. While Dark's hubris is duly gothic, and the fondness between Silver and Pew touching, the narrative overall feels weightless, without cohesion or fixed purpose. Some of Winterson's off-kilter reflections on love and storytelling are striking, but too many have become convenient truisms: "A beginning, a middle and an end is the proper way to tell a story. But I have difficulty with that method."
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
From The New Yorker
In her sea-soaked and hypnotic eighth novel, Winterson turns the tale of an orphaned young girl and a blind old man into a fable about love and the power of storytelling. Silver, abandoned after the death of her mother in the Scottish town of Salts—a "rock-bitten, sand-edged shell of a town"—is taken in by Pew, a yarn-spinning lighthouse keeper "as old as a unicorn." In the darkness of the lighthouse, he tells never-ending stories about the tortured life of a nineteenth-century clergyman, formerly a minister in Salts, and gradually, it seems, Silver contributes stories of her own. Atmospheric and elusive, Winterson's high-modernist excursion is an inspired meditation on myth and language.
Copyright © 2005 The New Yorker
From Booklist
Known for her slyly metaphysical tinkering with narrative conventions, time, space, and gender, British writer Winterson took a new tack in her whimsical children's book, King of Capri (2003), which seems to have engendered a new simplicity of style. Not that this enchanting, funny, history-raiding, and literature-borrowing tale of an orphan seeking her fortune on Scotland's rugged coast lacks dimension. Quite the contrary. Young Silver (so much is in a name) is taken in by Pew, the old, blind lighthouse keeper, who teaches her that to "tend the light" is to learn and tell stories. Stories do save lives, but they also destroy them. Take the stories Minister Babel Dark, who sometimes goes by the name Lux, tells to conceal his double life. His lies make him suicidal yet provide Robert Louis Stevenson with a terrific plot. Then there's the tragic tale of Tristan and Isolde and the story of natural selection, which even Darwin admits makes for a "less comfortable" world. Add to that Silver's own misadventures, and Winterson's fables-within-a-fable turn into a bewitching demonstration of the power of storytelling, the force that defines the self and links us to the past and each other. Donna Seaman
Copyright © American Library Association. All rights reserved
Most helpful customer reviews
33 of 35 people found the following review helpful.
"My life is a hesitation in time, an opening in a cave."
By Mary Whipple
Jeanette Winterson's magnificently descriptive, impressionistic novel tells two interconnected stories, each of them asking who we are as humans, how we connect to the past, and what makes our lives worth living. Its modern story focuses on Silver, born in 1959, "part precious metal, part pirate." A young girl without a father, Silver is orphaned at ten and moves into the local lighthouse with Pew, the aged and blind lighthousekeeper, whose family has tended the light in northwest Scotland since 1828. There, she polishes the brasswork, makes the tea, and listens to Pew's stories, some of them historical and some more fanciful, but all of them filled with wisdom and lessons from the past.
The lighthouse, we learn through Pew's stories, was built by the father of Robert Louis Stevenson. In 1878, R. L. Stevenson comes to the lighthouse for a visit and is fascinated by the story of Babel Dark, a local preacher, who becomes the inspiration for Mr. Hyde in Dr. Jekyll and Mr. Hyde. Dark, we learn through stories, falls in love with beautiful Molly in the early 1850s, then sees her embracing another man, becomes overcome with jealousy, and rejects her. Taking the symbolic name of Lux (meaning "light") when he is with Molly, Dark is unable to control his emotions and becomes a Hyde-like abuser. "He was dark...the light in him never lit."
As the stories of Silver (which reflects light) and Babel Dark develop in tandem, the novel takes on operatic qualities, with the two stories often sounding like duets, one voice light and one dark, singing in counterpoint to each other. As each person seeks fulfillment through love and connection, the cadence of Winterson's writing rises and falls, swirls, and turns in upon itself, with the same themes of creation, connection, and the continuity of life echoing throughout. Winterson's incorporation of the Tristan and Isolde story, along with the visit of Charles Darwin to the lighthouse, expands and further emphasizes the themes.
Both romantic and philosophical, Winterson offers much unique imagery. Pew, for example, is a "silent, taciturn clamp of a man." An Albanian family was "vacuum-packed into a ship," the grandmother, "all sun-dried tomato, tough, chewy, skin split with the heat." Her narrative tempo is flawless, the language elegant, and the characterization consistent with the themes. The end of the book harks back to the beginning, completing a circle and granting new insights into her meanings. A rich novel which the reader will want to read slowly and savor. Mary Whipple
0 of 0 people found the following review helpful.
Poetically Written
By Westwood Village Reviews
This book is well worth the read if only for the rich language and vivid imagery.
14 of 14 people found the following review helpful.
A story within a story within a story
By Luan Gaines
This small novel is a journey of shared illusions, melding the past with myth, overflowing with images: the moodiness of the distant moon, the leaden weight of night, the soft damp mist that fills every crevice of this sea-swept land, a place of dreams and stories on the Scottish coast of the Atlantic Ocean. All is image, blurred pictures of people long dead, a reminder that the past is not so far away.
Silver is the narrator of Lighthousekeeping, her early life anchored to a seaward listing home that finally swallows her mother whole, a father never known. From the drab abode of Miss Pinch in the town of Salt, Silver is sent to live with old blind Pew, the lighthouse keeper of Cape Wrath, "home to gulls and dreams". Pew is a storyteller who teaches her the language of the sea and the soul, relating the tale of Babel Dark, a haunted figure, "not a man for good mornings and good nights", married to a woman devoid of curiosity, his wife nonetheless.
Silver's life is part mistake, part madness, a mélange of stories and impressions, anchored only by her affection for Pew and her security in the lighthouse. The pages are awash with vivid imagination, flying on the wings of language, the magic of myth, weaving stories like webs around the characters. Stories hover like shadows, shifting within the narrative, connected by a filament of truth, Silver's voice, Pew's memory, Dark's anguish and yearning for a life unlived, for years squandered.
Like a dark prince, Babel Dark, he who lived a century or more before, wanders the cliffs in Pew's telling, galloping over the rugged terrain, his heart as wild as the countryside, unredeemed. Like the heroes of myth, Dark's passion is romantic, if embittered, just as Pew's tales are true, though impossible. And Silver takes it all in until the stories course through her body like blood and she cannot live without this precious fluid that rushes through her veins. Even when she must reinvent herself again and again, Silver is buoyed by Pew's "lighthousekeeping" lessons, the stories that sustain the heart.
There are so many remarkable phrases, astute observations and insights that I read slowly, savoring the language, the ideas, evocative seafaring lore and doomed love, all reminders of the heart and its penchant for illogical attachments, for personalization. I gladly follow as Silver navigates through her days, from the mother swept away in the wind, the bed made of chairs at Miss Pinch's, the enchanted years at the lighthouse with blind Pew, Babel Dark's sad saga of unrequited love and sailors lost to a howling sea.
Myth, memory and language combine, orchestrated into a symphony on the edge of the world, where life and death coexist, entwined for eternity. This prose/poetry holds a wealth of images, the warmth of infinite tenderness, bright splashes of sunlight, quiet interludes of thoughtful introspection. Lighthousekeeping is a lesson in reinvention, subtle directions in living the story, listening to the past and welcoming the unknown, the future. Luan Gaines/2005.
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