by JM Barrie
“What did his crow sound like?” Jane asked one evening.
“It was like this,” Wendy said, trying to imitate Peter’s crow.
“No, it wasn’t,” Jane said gravely, “it was like this”; and she did it ever so much better than her mother.
Wendy was a little startled. “My darling, how can you know?”
“I often hear it when I am sleeping,” Jane said.
“Ah yes, many girls hear it when they are sleeping, but I was the only one who heard it awake.”
“Lucky you!” said Jane.
And then one night came the tragedy. It was the spring of the year, and the story had been told for the night, and Jane was now asleep in her bed. Wendy was sitting on the floor, very close to the fire so as to see to darn, for there was no other light in the nursery; and while she sat darning she heard a crow. Then the window blew open as of old, and Peter dropped on the floor.
He was exactly the same as ever, and Wendy saw at once that he still had all his first teeth.
He was a little boy, and she was grown up. She huddled by the fire not daring to move, helpless and guilty, a big woman.
“Hullo, Wendy,” he said, not noticing any difference, for he was thinking chiefly of himself; and in the dim light her white dress might have been the nightgown in which he had seen her first.
“Hullo, Peter,” she replied faintly, squeezing herself as small as possible. Something inside her was crying “Woman, woman, let go of me.”
“Hullo, where is John?” he asked, suddenly missing the third bed.
“John is not here now,” she gasped.
“Is Michael asleep?” he asked, with a careless glance at Jane.
“Yes,” she answered; and now she felt that she was untrue to Jane as well as to Peter.
“That is not Michael,” she said quickly, lest a judgment should fall on her.
Peter looked. “Hullo, is it a new one?”
“Yes.”
“Boy or girl?”
“Girl.”
Now surely he would understand; but not a bit of it.
“Peter,” she said, faltering, “are you expecting me to fly away with you?”
“Of course; that is why I have come.” He added a little sternly, “Have you forgotten that this is spring-cleaning time?”
She knew it was useless to say that he had let many spring-cleaning times pass.
“I can’t come,” she said apologetically, “I have forgotten how to fly.”
“I’ll soon teach you again.”
“O, Peter, don’t waste the fairy dust on me.”
She had risen, and now at last a fear assailed him. “What is it?” he cried, shrinking.
“I will turn up the light,” she said, “and then you can see for yourself.”
For almost the only time in his life that I know of, Peter was afraid. “Don’t turn up the light,” he cried.
She let her hands play in the hair of the tragic boy. She was not a little girl heart-broken about him; she was a grown woman smiling at it all, but they were wet smiles.
Then she turned up the light, and Peter saw. He gave a cry of pain; and when the tall beautiful creature stooped to lift him in her arms he drew back sharply.
“What is it?” he cried again.
She had to tell him.
“I am old, Peter. I am ever so much more than twenty. I grew up long ago.”
“You promised not to!”
“I couldn’t help it. I am a married woman, Peter.”
“No, you’re not.”
“Yes, and the little girl in the bed is my baby.”
“No, she’s not.”
But he supposed she was; and he took a step towards the sleeping child with his fist upraised. Of course he did not strike her. He sat down on the floor and sobbed, and Wendy did not know how to comfort him, though she could have done it so easily once. She was only a woman now, and she ran out of the room to try to think.
Peter continued to cry, and soon his sobs woke Jane. She sat up in bed, and was interested at once.
“Boy,” she said, “why are you crying?”
Peter rose and bowed to her, and she bowed to him from the bed.
“Hullo,” he said.
“Hullo,” said Jane.
“My name is Peter Pan,” he told her.
“Yes, I know.”
“I came back for my mother,” he explained, “to take her to the Neverland.”
“Yes, I know,” Jane said, “I have been waiting for you.”
When Wendy returned diffidently she found Peter sitting on the bed-post crowing gloriously, while Jane in her nighty was flying round the room in solemn ecstasy.
“She is my mother,” Peter explained; and Jane descended and stood by his side, with the look on her face that he liked to see on ladies when they gazed at him.
“He does so need a mother,” Jane said.
“Yes, I know,” Wendy admitted, rather forlornly; “no one knows it so well as I.”
“Good-bye,” said Peter to Wendy; and he rose in the air, and the shameless Jane rose with him; it was already her easiest way of moving about.
Wendy rushed to the window.
“No, no!” she cried.
“It is just for spring-cleaning time,” Jane said; “he wants me always to do his spring cleaning.”
“If only I could go with you!” Wendy sighed.
“You see you can’t fly,” said Jane.
Of course in the end Wendy let them fly away together. Our last glimpse of her shows her at the window, watching them receding into the sky until they were as small as stars.
As you look at Wendy you may see her hair becoming white, and her figure little again, for all this happened long ago. Jane is now a common grown-up, with a daughter called Margaret; and every spring-cleaning time, except when he forgets, Peter comes for Margaret and takes her to the Neverland, where she tells him stories about himself, to which he listens eagerly. When Margaret grows up she will have a daughter, who is to be Peter’s mother in turn; and so it will go on, so long as children are gay and innocent and heartless.
READING GROUP GUIDE
1.
In 1911 a reviewer for The Athenaeum noted that the novel Peter Pan (originally published as Peter and Wendy) “has become for the latest generation what Alice in Wonderland was for a former.” What has given these two books such spectacular longevity? How would you compare the two classics?
2.
Barrie has a strong narrative voice in Peter Pan, injecting his own comments and asides throughout the novel. Is it accurate to describe him as a character in the book? How would you describe his point of view?
3.
“Growing up” and “motherhood” are two important themes in Peter Pan. What do these concepts mean to Peter and the lost boys? What do they mean to Mrs. Darling?
4.
“Peter had seen many tragedies,” writes J. M. Barrie, “but he had forgotten them all.” What else do Peter, the lost boys, and the Darling children forget? Why does the author call the children heartless and selfish, and what are their most appealing qualities?
5.
According to Barrie, each child has a unique “Neverland.” What are your favorite aspects of the Neverland inhabited by Peter Pan, Tinker Bell, the lost boys, the pirates, and the redskins? Can you describe your own childhood Neverland?
6.
According to G. K. Chesterton, the original illustrations by F. D. Bedford “have a certain mixture of solid impossibility and exact detail, which is the thing that children love most.” Do you agree? Did Bedford’s interpretations of characters and settings coincide with what you saw in your own mind as you read the book?
7.
How many stereotypes can you find in this Edwardian (1901–10) novel? Consider the author’s depiction of Tiger Lily and her band of redskin warriors, as well as the traditional roles the author has assigned to men and women, boys and girls. How are these subjects treated differently in
the twenty-first century?
8.
In describing James Hook and his relationship with the other pirates, the author writes, “This inscrutable man never felt more alone than when surrounded by his dogs. They were socially so inferior to him.” What other examples of a class structure can you find in the novel? What social status do Tinker Bell and Nana have? Which characters enjoy the highest social status?
9.
In his final battle with Peter, Hook cries out, “Pan, who and what art thou?” How does Peter respond to this question? How would you answer it?
10.
“When Wendy Grew Up,” the final chapter in this novel, was hailed by critics as a welcome addition to the 1904 stage play of Peter Pan. What makes this last section so satisfying?
11.
If Peter Pan had decided to stay with the Darlings and grow up, how would he have turned out? Would he perhaps resemble Mr. Darling or Captain Hook?
The Modern Library Editorial Board
Maya Angelou
•
A. S. Byatt
•
Caleb Carr
•
Christopher Cerf
•
Ron Chernow
•
Shelby Foote
•
Charles Frazier
•
Vartan Gregorian
•
Richard Howard
•
Charles Johnson
•
Jon Krakauer
•
Edmund Morris
•
Azar Nafisi
•
Joyce Carol Oates
•
Elaine Pagels
•
John Richardson
•
Salman Rushdie
•
Oliver Sacks
•
Arthur M. Schlesinger, Jr.
•
Carolyn See
•
William Styron
•
Gore Vidal
Modern Library is online at
www.modernlibrary.com
MODERN LIBRARY ONLINE IS YOUR GUIDE
To classic literature on the web
THE MODERN LIBRARY E-NEWSLETTER
Our free e-mail newsletter is sent to subscribers, and features sample chapters, interviews with and essays by our authors, upcoming books, special promotions, announcements, and news.
To subscribe to the Modern Library e-newsletter, send a blank e-mail to: [email protected] or visit www.modernlibrary.com
THE MODERN LIBRARY WEBSITE
Check out the Modern Library website at
www.modernlibrary.com for:
• The Modern Library e-newsletter
• A list of our current and upcoming titles and series
• Reading Group Guides and exclusive author spotlights
• Special features with information on the classics and other paperback series
• Excerpts from new releases and other titles
• A list of our e-books and information on where to buy them
• The Modern Library Editorial Board’s 100 Best Novels and 100 Best Nonfiction Books of the Twentieth Century written in the English language
• News and announcements
Questions? E-mail us at [email protected]
For questions about examination or desk copies, please visit
the Random House Academic Resources site at
www.randomhouse.com/academic
Children’s Classics Available from
The Modern Library
Little Women
LOUISA MAY ALCOTT
Introduction by Susan Cheever
0-375-75672-8
The Wonderful Wizard of Oz
L. FRANK BAUM
Introduction by Ray Bradbury
Preface by the Author
0-8129-7011-X
The Secret Garden
FRANCES HODGSON BURNETT
Introduction by Alice Sebold
0-8129-6998-7
Alice’s Adventures in Wonderland
& Through the Looking-Glass
LEWIS CARROLL
Introduction by A. S. Byatt
Illustrations by John Tenniel
0-375-76138-1
Oliver Twist
CHARLES DICKENS
Introduction by Phillip Pullman
Illustrations by George Cruikshank
0-375-75784-8
The Prince and the Pauper
MARK TWAIN
Introduction by Christopher Paul Curtis
0-375-76112-8
Adventures of Huckleberry Finn
MARK TWAIN
Introduction by George Saunders
0-375-75737-6
Irish Fairy and Folk Tales
EDITED AND WITH AN INTRODUCTION
BY WILLIAM BUTLER YEATS
Foreword by Paul Muldoon
0-8129-6855-7
Available at bookstores everywhere
www.modernlibrary.com
2004 Modern Library Paperback Edition
Introduction copyright © 2004 by Anne McCaffrey
Biographical note and reading group guide copyright © 2004 by Random House, Inc.
All rights reserved under International and Pan-American Copyright Conventions. Published in the United States by Modern Library, an imprint of The Random House Publishing Group, a division of Random House, Inc., New York, and simultaneously in Canada by Random House of Canada Limited, Toronto.
MODERN LIBRARY and the TORCHBEARER Design are registered trademarks of Random House, Inc.
Library of Congress Cataloging-in-Publication data is available.
Modern Library website address: www.modernlibrary.com
eISBN: 978-1-58836-420-3
v3.0