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High Wind in Jamaica ebook

by Richard Hughes

A High Wind in Jamaica is a 1929 novel by the Welsh writer Richard Hughes, which was made into a film of the same name in 1965. The book was initially titled The Innocent Voyage and published by Harper & Brothers in the spring of that year.

A High Wind in Jamaica is a 1929 novel by the Welsh writer Richard Hughes, which was made into a film of the same name in 1965. Several months later Hughes renamed his novel in time for its British publication, and Harper followed suit. The original title retained some currency, as evidenced by Paul Osborn's 1943 stage adaptation

RICHARD HUGHES (1900–1976) attended Oxford and lived for most of his life in a castle in Wales. Her stories and essays have appeared in numerous publications. A High Wind in Jamaica.

RICHARD HUGHES (1900–1976) attended Oxford and lived for most of his life in a castle in Wales. His other books include The Fox in the Attic and The Wooden Shepherdess, the first two volumes of The Human Predicament, an unfinished trilogy about the rise of German Fascism and the onset of World War II. FRANCINE PROSE is the author of nine novels, two story collections, and most recently a collection of novellas, Guided Tours of Hell. Introduction by Francine Prose.

Richard Hughes, A High Wind in Jamaica. Thank you for reading books on BookFrom. 107. 0. Published: 2003.

A High Wind In Jamaica. Book Source: Digital Library of India Item 2015. author: Richard Hughes d. ate. te: 2005-02-02 d. citation: 1932 d. dentifier. origpath: /data d. copyno: 1 d.

A High Wind in Jamaica by Richard Hughes is like those books you used to read under the covers with a flashlight, only infinitely more delicious and macabre. Andrew Sean Greer, All Things Considered, NPR. By turns funny, ironic, and brutally sad, this is a complex and astonishing novel. -Sue Miller, Barnes and.

Поиск книг BookFi BookFi - BookFinder. Download books for free. Скачать (EPUB) . Читать. Richard Hughes, Robert Ginnett, Gordon Curphy.

Richard Hughes's celebrated short novel is a masterpiece of concentrated narrative

Richard Hughes's celebrated short novel is a masterpiece of concentrated narrative. Its dreamlike action begins among the decayed plantation houses and overwhelming natural abundance of late nineteenth-century Jamaica, before moving out onto the high seas, as Hughes tells the story of a group of children thrown upon the mercy of a crew of down-at-the-heel pirates.

A High Wind in Jamaica book.

High Wind in Jamaica rare book for sale. London: Chatto & Windus, 1929. Octavo, original half orange cloth, top edge gilt, uncut, early acetate. A minor classic of 20th-century English literature" (Kuiper, 566). Hughes "made his reputation with A High Wind in Jamaica, a study of a group of children caught up in real-life piracy and kidnapping" (Carpenter & Prichard, 263).

Praised for its atypical and unsettling take on the truth of human nature, Richard Hughes' classic, first published in 1929, has been called one of the greatest.

Set in the nineteenth century against a backdrop of island life and the vast surrounding seas, A High Wind in Jamaica is the gripping story of the Bas-Thornton children, whose parents send them back to England following a hurricane in the postcolonial Caribbean they call home. Having set sail, the children quickly fall into the hands of pirates. As their voyage continues, things take an awful turn. Praised for its atypical and unsettling take on the truth of human nature, Richard Hughes' classic, first published in 1929, has been called one of the greatest novels of the twentieth century.

This little book exceeded my expectations and made me wonder how many other books, unsung or forgotten, are living out there on library shelves. The New York Review of books has opened a door into this lost world of words. This is the second book I have recently read from the NYRB collection. If you've grown tired of hunting for good reads in recently published fiction you might be interested in their selections.

A High Wind in Jamaica describes children and their thinking as they actually might be. When one is too young to understand the workings of the adult world, one actually has a strange advantage. The action takes place in the mid-19th century. Briefly and without spoilers, seven children are sent by their parents from Jamaica to England to attend school. Early on, their ship is seized by pirates, the children with it. This is when the fun begins.

If you have a fixed image of pirates and one of children as well, A High Wind in Jamaica will forever change that. As a retired teacher, I have been very aware of what children are capable of, both good and bad. Richard Hughes provides a playing field where all manner of fantastic adventure can take place. This book is compared to Lord of the a Flies, but I don't see the similarity other than both books focus on the actions and perceptions of children freed from the safety and care of responsible adults. It is all a little weird and horrifying. By all means read this book.
"A High Wind in Jamaica" is always on the "best novels" lists and when I finally got around to it, I've discovered that the adulation is deserved. It's one of the best things I've read for a long time. "A High Wind..." is sometimes compared to "Lord of the Flies," but they can teach "Lord of the Flies" in high school because the symbolism is pretty clear and the little-nerdy-guys vs big-peer-pressure-bullies characters are easy to point out and discuss. And there's no sex in "Lord of the Flies." (How could there be? It's all boys?!?) The plot of "A High Wind..." is high adventure: After a hurricane destroys the house of the British colonialists exploiting the poor in Jamaica, the Bas-Thorntons send their five slightly wild children (oldest brother John, followed by Emily, Edward, Rachel, and baby Laura) - along with the Fernandez's slightly older and more reserved children (Margaret and Henry) - back to Britain. But on the way back, they're kidnapped by pirates and undergo a number of extraordinary physical and psychological adventures before they're returned to the motherland.

The violence in "A High Wind..." is pervasive and clearly important to the plot. Like the violence, the sex is scattered throughout the story, but appears ambiguous. But if you think about it, the sexual allusions result in inappropriate sex; some dirty filthy, socially unacceptable sex WITH PIRATES; a little sexual confusion among the children; and even a some gender play WITH PIRATES, all of which could be tough to talk about with tenth graders.

The first half of the novel has plenty of funny, dry British incidents. The diction itself is often intentionally humorous. The pirates turn out not to be what you might expect, which is both funny and appalling at times. And the conclusion is completely ambiguous, ending in a very thought-provoking scene. This is a terrific novel that shouldn't be wasted on the young who wouldn't understand all the implications.
High-seas piracy and the complex psychological lives of children are brought together, quite strikingly, in Richard Hughes’s 1929 novel "A High Wind in Jamaica." This book looks ahead to William Golding’s "Lord of the Flies" in the way it suggests that the outward innocence of children may conceal a capacity for cruel and wicked acts; but Hughes’s presentation of these ideas seems to work at a subtler and more disturbing level than does Golding’s better-known 1954 novel.

"A High Wind in Jamaica" begins in, unsurprisingly, Jamaica, at a time when that singularly lovely island is still an English colony. I took this book along with me on a trip to Jamaica, and I found that the descriptive passages from the early part of the book capture well the paradoxical beauty of the island: “The air was full of the usual tropic din: mosquitoes humming, cicalas trilling, bull-frogs twanging like guitars. That din goes on all night and all day almost: is more insistent, more memorable than the heat itself, even, or the number of things that bite” (p. 18). The evocation of natural beauty, closing on a note of menace: it is strongly characteristic of the manner in which Hughes conveys setting and tells his story.

The “high wind” of the novel’s title is a hurricane that strikes Jamaica and destroys the home of the Bas-Thorntons, an English family who, like many other Britons of that time, have come to Jamaica to recoup fortunes lost in the mother country. Struck by how narrowly the family survived the tempest that destroyed the family home, and concerned that their proper English children seem to be taking on “wild” island ways, Mr. and Mrs. Thornton decide that it is a propitious time to send their children to live in England, along with the children of a nearby Creole family.

Yet Hughes’s narrator places considerable emphasis on the idea that the Thorntons – and, by implication, most parents – know almost nothing about the actual emotional lives of their children, in passages like this one:

“It would have surprised Mrs. Thornton very much to have been told that hitherto she had meant practically nothing to her children….[I]t would undoubtedly have surprised the children also to be told how little their parents meant to them. Children seldom have any power of quantitative self-analysis: whatever the facts, they believe as an article of faith that they love Father and Mother first and equally. Actually, the Thornton children had loved Tabby [the family cat] first and foremost in all the world, some of each other second, and hardly noticed their mother’s existence more than once a week. Their father they loved a little more: partly owing to the ceremony of riding home on his stirrups.” (pp. 44-45)

But the Clorinda, the ship in which the Thorntons have booked passage “home” to England for their children, is waylaid by pirates; and once the children have been taken onto the pirate ship, Hughes gets on to his real subject: the question of what children – especially the two oldest Thornton children, John and Emily – are capable of, once the restraints of ordinary civilization have been stripped away.

The children-and-pirates scenario may seem like something reminiscent of J.M. Barrie’s "Peter Pan" (1904); but if anything, "A High Wind in Jamaica" works as a sort of anti-"Peter Pan." For one thing, the pirates, as led by a Danish captain named Jonsen and his Viennese first mate Otto, are not figures of operatic menace, like Captain Hook from Peter Pan or Long John Silver from Robert Louis Stevenson’s "Treasure Island" (1883); rather, they emerge as feckless and rather pathetic figures. Taking advantage of the indulgent attitudes of Spanish colonial authorities in the port of Santa Lucia, Cuba, they are operating a good 150 years after the supposed “golden age” of piracy: “Piracy had long ceased to pay, and should have been scrapped years ago; but a vocational tradition will last on a long time after it has ceased to be economic, in a decadent form. Now, Santa Lucia – and piracy – continued to exist as they always had: but for no other reason” (p. 96). And as their nautical misadventures unfold, Jonsen and Otto and the rest of the pirates show a remarkable capacity for poor and ill-informed decision-making. The more fateful, and more existentially troubling, words and actions and decisions come from the children.

"A High Wind in Jamaica" offers a couple of real surprises. When, for example, one major character leaves the novel, the circumstances of said event are described so routinely – in a single, declarative, 24-word sentence, about one-third of the way through the book – that the reader is likely to flip through the next couple of pages in search of a passage saying “It was only a dream” or “It was not as serious as had been expected”; but no such passage is to be found. Comparably surprising is an action that Emily carries out after Captain Jonsen’s pirate ship has captured a Dutch merchantman.

Hughes is one of those early-20th-century British modernists whose literary consciousness seems to have been molded in large part by the devastation of the First World War. His narrator sets forth the events of "A High Wind in Jamaica" with a knowing, rueful outlook on human flaws and failings, occasionally moving from the novel’s characteristic third-person omniscient point of view to passages of first-person narration in which the narrator stresses what he does not know – as when the narrator says of Mrs. Thornton that “She was a dumpy little woman – Cornish, I believe” (p. 44).

This work reminded me of the novels of Robert Graves and Malcolm Lowry, fellow Britons who lived and wrote during the same period; and if you like books like Graves’s World War I memoir "Good-Bye to All That" (1929) or Lowry’s novel "Under the Volcano" (1947), then "A High Wind in Jamaica" will probably appeal to you as well.
High Wind in Jamaica ebook
Richard Hughes
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Lythway P.; Large type edition edition (December 28, 1976)
304 pages
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