At the heart of this panoramic, multidimensional narrative is the compelling struggle of a young woman to lift her body and soul out of the gutter. Faber leads us back to 1870s London, where Sugar, a nineteen-year-old whore in the brothel of the terrifying Mrs. Castaway, yearns for escape to a better life. Her ascent through the strata of Victorian society offers us intimacy with a host of lovable, maddening, unforgettable characters. They begin with William Rackham, an egotistical perfume magnate whose ambition is fueled by his lust for Sugar, and whose patronage brings her into proximity to his extended family and milieu: his unhinged, childlike wife, Agnes, who manages to overcome her chronic hysteria to make her appearances during “the Season”; his mysteriously hidden-away daughter, Sophie, left to the care of minions; his pious brother, Henry, foiled in his devotional calling by a persistently less-than-chaste love for the Widow Fox, whose efforts on behalf of The Rescue Society lead Henry into ever-more disturbing confrontations with flesh; all this overseen by assorted preening socialites, drunken journalists, untrustworthy servants, vile guttersnipes, and whores of all stripes and persuasions.
Twenty years in its conception, research, and writing, The Crimson Petal and the White is teeming with life, rich in texture and incident, with characters breathtakingly real. In a class by itself, it's a big, juicy, must-read of a novel that will delight, enthrall, provoke, and entertain young and old, male and female.
Watch your step. Keep your wits about you; you will need them. This city I am bringing you to is vast and intricate, and you have not been here before. You may imagine, from other stories you've read, that you know it well, but those stories flattered you, welcoming you as a friend, treating you as if you belonged. The truth is that you are an alien from another time and place altogether.
When I first caught your eye and you decided to come with me, you were probably thinking you would simply arrive and make yourself at home. Now that you're actually here, the air is bitterly cold, and you find yourself being led along in complete darkness, stumbling on uneven ground, recognising nothing. Looking left and right, blinking against an icy wind, you realise you have entered an unknown street of unlit houses full of unknown people.
And yet you did not choose me blindly. Certain expectations were aroused. Let's not be coy: you were hoping I would satisfy all the desires you're too shy to name, or at least show you a good time. Now you hesitate, still holding on to me, but tempted to let me go. When you first picked me up, you didn't fully appreciate the size of me, nor did you expect I would grip you so tightly, so fast. Sleet stings your cheeks, sharp little spits of it so cold they feel hot, like fiery cinders in the wind. Your ears begin to hurt. But you've allowed yourself to be led astray, and it's too late to turn back now.
It's an ashen hour of night, blackish-grey and almost readable like undisturbed pages of burnt manuscript. You blunder forward into the haze of your own spent breath, still following me. The cobblestones beneath your feet are wet and mucky, the air is frigid and smells of sour spirits and slowly dissolving dung. You hear muffled drunken voices from somewhere nearby, but what little you can understand doesn't sound like the carefully chosen opening speeches of a grand romantic drama; instead, you find yourself hoping to God that the voices come no closer.
The main characters in this story, with whom you want to become intimate, are nowhere near here. They aren't expecting you; you mean nothing to them. If you think they're going to get out of their warm beds and travel miles to meet you, you are mistaken.
You may wonder, then: why did I bring you here? Why this delay in meeting the people you thought you were going to meet? The answer is simple: their servants wouldn't have let you in the door.
What you lack is the right connections, and that is what I've brought you here to make: connections. A person who is worth nothing must introduce you to a person worth next-to-nothing, and that person to another, and so on and so forth until finally you can step across the threshold, almost one of the family.
That is why I've brought you here to Church Lane, St Giles: I've found just the right person for you.
I must warn you, though, that I'm introducing you at the very bottom: the lowest of the low. The opulence of Bedford Square and the British Museum may be only a few hundred yards away, but New Oxford Street runs between there and here like a river too wide to swim, and you are on the wrong side. The Prince of Wales has never, I assure you, shaken the hand of any of the residents of this street, or even nodded in passing at anyone here, nor even, under cover of night, sampled the prostitutes. For although Church Lane has more whores living in it than almost any other street in London, they are not of the calibre suitable for gentlemen. To connoisseurs, a woman is more than a carcass after all, and you can't expect them to forgive the fact that the beds here are dirty, the décor is mean, the hearths are cold and there are no cabs waiting outside.
In short, this is another world altogether, where prosperity is an exotic dream as distant as the stars. Church Lane is the sort of street where even the cats are thin and hollow-eyed for want of meat, the sort of street where men who profess to be labourers never seem to labour and so-called washer- women rarely wash. Do-gooders can do no good here, and are sent on their way with despair in their hearts and shit on their shoes. A model lodging-house for the deserving poor, opened with great philanthropic fanfare twenty years ago, has already fallen into the hands of disreputables, and has aged terribly. The other, more antiquated houses, despite being two or even three storeys high, exude a subterranean atmosphere, as if they have been excavated from a great pit, the decomposing archaeology of a lost civilisation. Centuries-old buildings support themselves on crutches of iron piping, their wounds and infirmities poulticed with stucco, slung with clothes-lines, patched up with rotting wood. The roofs are a crazy jumble, the upper windows cracked and black as the brickwork, and the sky above seems more solid than air, a vaulted ceiling like the glass roof of a factory or a railway station: once upon a time bright and transparent, now overcast with filth.
However, since you've arrived at ten to three in the middle of a freezing November night, you're not inclined to admire the view. Your immediate concern is how to get out of the cold and the dark, so that you can become what you'd thought you could be just by laying your hand on me: an insider.
Apart from the pale gas-light of the street-lamps at the far corners, you can't see any light in Church Lane, but that's because your eyes are accustomed to stronger signs of human wakefulness than the feeble glow of two candles behind a smutty windowpane. You come from a world where darkness is swept aside at the snap of a switch, but that is not the only balance of power that life allows. Much shakier bargains are possible.
Come up with me to the room where that feeble light is shining. Let me pull you in through the back door of this house, let me lead you through a claustrophobic corridor that smells of slowly percolating carpet and soiled linen. Let me rescue you from the cold. I know the way.
Watch your step on these stairs; some of them are rotten. I know which ones; trust me. You have come this far, why not go just a little farther? Patience is a virtue, and will be amply rewarded.
Of course - didn't I mention this? - I'm about to leave you. Yes, sadly so. But I'll leave you in good hands, excellent hands. Here, in this tiny upstairs room where the feeble light is shining, you are about to make your first connection.
She's a sweet soul; you'll like her. And if you don't, it hardly matters: as soon as she's set you on the right path, you can abandon her without fuss. In the five years since she's been making her own way in the world, she has never got within shouting distance of the sorts of ladies and gentlemen among whom you'll be moving later; she works, lives and will certainly die in Church Lane, tethered securely to this rookery.
Like many common women, prostitutes especially, her name is Caroline, and you find her squatting over a large ceramic bowl filled with a tepid mixture of water, alum and sulphate of zinc. Using a plunger improvised from a wooden spoon and old bandage, she attempts to poison, suck out or otherwise destroy what was put inside her only minutes before by a man you've just missed meeting. As Caroline repeatedly saturates the plunger, the water becomes dirtier - a sure sign, she believes, that the man's seed is swirling around in it rather than in her.
Drying herself with the hem of her shift, she notes that her two candles are dimming; one of them is already a guttering stub. Will she light new ones?
Well, that depends on what time of night it is, and Caroline has no clock. Few people in Church Lane do. Few know what year it is, or even that eighteen and a half centuries are supposed to have passed since a Jewish troublemaker was hauled away to the gallows for disturbi...
PRAISE FOR THE CRIMSON PETAL AND THE WHITE
"Don't wait for the movie. Read The Crimson Petal and the White now, while it's still a living, laughing, sweating, coruscating mass of gorgeous words. . . . Words say things even bodies can't. And that's why a book like this is even better than sex."-Time
"A big, sexy, bravura novel that is destined to be surpassingly popular . . . Dear Reader, the author has unpretentiously revived the spirit of the [19th century's] broad, socially conscious narrative tableau."-Janet Maslin, The New York Times
"Nothing could have prepared readers for the sweep and subtlety of The Crimson Petal and the White."-The New York Times Book Review
"A lasting love affair; the intimate relationship one develops with the characters after reading for 834 pages is much more satisfying than the mere one-night-stand promised by other novels."-People
"Cocky and brilliant, amused and angry, the author is rightfully earning comparisons to observer extraordinaire Charles Dickens. . . . It's hopeless to resist."-Entertainment Weekly
"This year's most entertaining novel."-The Boston Globe
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