Penguin.com (usa)

Love Child

A Novel

Sheila Kohler - Author

Paperback | $15.00 | add to cart | view cart
ISBN 9780143119197 | 256 pages | 28 Jun 2011 | Penguin | 8.26 x 5.23in | 18 - AND UP
Additional Formats:
Summary of Love Child Summary of Love Child Reviews for Love Child An Excerpt from Love Child
An enthralling new novel from the highly acclaimed author of Becoming Jane Eyre

The compelling story of a forbidden marriage, a baby lost, and a love triangle gone horribly wrong, Love Child centers on Bill, a South African woman whose life has been defined by the apartheid-era, class-riven society in which she lives. Under pressure to make her will, Bill is forced to think about the momentous events and decisions that have made her an extremely wealthy if somewhat disillusioned woman. To whom should she leave her fortune? As Bill relives her past, we learn that this is a simple question with a complicated answer. In elegant, sensual, and nuanced prose, Kohler skillfully explores the space between our dreams and our reality, between our hopes and our disappointments.

Your last novel, Becoming Jane Eyre, is about Charlotte Brontë and the writing of her timeless novel. Do you see Brontë and Bill as similar in any way? What drew you to each?

There are some curious parallels between Jane Eyre and Bill's life, which is based to some extent on my mother's. Bill works in a family for a married man, as does Jane Eyre, and ends up marrying him. Of course, the mad wife in the attic is replaced in Bill's case by a very sane and intelligent wife, Helen. But Helen, too, suffers from a mysterious malady which Bill discovers after some time just as Jane discovers the existence of the real Mrs. Rochester.

Your prose is very lean, so one has the sense that every word is included for a reason. When Bill hides her jewels in a tin of Craven "A" cigarettes, are you deliberately evoking The Scarlet Letter? Do various characters' references to The Mill on the Floss, Jude the Obscure, and The Brothers Karamazov hold any significance?

I was definitely not thinking about any of these classical references, but I don't think we are always aware as writers what unconscious motives might make us choose a word, an image, or even a theme.

Except for the three sisters, all of the characters are rather conventionally named. Why did you choose to call them Pie, Bill, and Haze?

Pie and Haze are actually the names of my two aunts, and Bill is the nickname my mother was given. I was writing from life here entirely, though all the names seemed appropriate. The names of the three maiden aunts, too, were from life: Maud, May, and Winnie, short for Winifred. Their story, of a father who leaves a will so that they cannot marry without relinquishing their income, is also drawn from life.

What initially inspired you to become a writer?

It is hard to say where the desire to write comes from, but certainly I was influenced by my aunt named Hazel in life and in the book, who read my sister, my cousin, and me the first chapter of Jane Eyre when I was seven years old. It made a tremendous impression on me and perhaps gave me the spark to try and do something similar of my own.

Your first story was published in 1987. How has your approach to the craft changed over time? Has writing become easier or more difficult?

I have learned, I believe, to have more confidence in myself as a writer and also, perhaps, to think of my reader more than I did initially. I'm not sure that the process has become any easier. Each time you go to the blank page the struggle begins again, though always for me with a kind of excitement and delight.

Is there a reason you set the novel in this time period? Was there anything of historical significance occurring at the time?

I used the period of my mother's life. So many things occurred during this time: two world wars, for example. But South Africa was removed and isolated to some extent from the great cataclysms of the time. However, I remember my mother saying that so much had changed during her lifetime, that so much had been invented: commercial airplane travel, for example.

Although you were born and raised in Johannesburg, South Africa, you have spent your adulthood living in Europe and the United States. Do you see yourself primarily as a South African writer? If so, what does that mean to you? If not, why are many of your books set there?

I suppose the place of childhood is particularly important in each writer's life. Though I was only there as a child, South Africa has continued to be a source of inspiration for me and I am currently embarked on a short story that takes place there. It is such a vivid place in so many ways: the bright sunlight, the luxuriant nature, and the juxtaposition of all this beauty with violence. Still, I don't think of myself as a South African writer but rather an immigrant writer, a citoyenne du monde, someone who doesn't really belong anywhere.

Bill has a mother who is ineffectual. How do you believe the lack of a strong maternal force influences a woman's future happiness?

This is the old question of nature and nurture, and the older I get the more I believe that we are born with a certain character and that life and our experiences—and our mothers, of course—alter this to some extent, but not irremediably for most of us. I have the feeling that Bill would have been who she was with or without the ineffectual mother.

As a teacher of writing, what are the most essential lessons that you try to communicate to your students?

I try to give my students the freedom to find their own voices and their own material and at the same time to teach them some basic elements of craft by suggesting they read the great masters and try to learn from them.

What do you see as the author's role in society?

An author's role is to make art, I believe, which concerns writing down the truths of life as he or she perceives them to the best of his or her ability and turning these truths into a story. If, out of this process, one is able to make people more aware of injustice in the society around us, that is certainly all to the better (one thinks of the great novels of Dickens, for example), but I don't think it can be our primary aim.

What are some of your favorite novels? Who are your literary influences?

Always such a difficult question to answer; I have so many favorite authors and so many influences. The great Russians: Chekhov, Dostoyevsky, and Tolstoy; the French, especially Flaubert's great novel, Madame Bovary, which is perhaps the perfect novel; and of course, my old English favorite, Dickens (I was very sad to hear from my students this semester that they had never read David Copperfield and had not made the acquaintance of Uriah Heep and Mr. Micawber); and of course the great women writers of the nineteenth century: George Eliot, Charlotte, Emily, and Anne Brontë. All these writers and many others have influenced me, and helped me, and I have been particularly inspired by my fellow countryman and Nobel prize winner, J. M. Coetzee, as well as my colleague Joyce Carol Oates.

What are you working on now?

I have just completed a draft of a novel called The Bay of Foxes. It is about a famous French writer (loosely modeled on Marguerite Duras) who disappears under mysterious circumstances. The novel is told from the point of view of a young Ethiopian aristocrat who works as the writer's secretary after she picks him up in a café in Paris. As in my novel Cracks there is a crime in the novel, and I found it very disturbing to write. It came to me unusually fast and took me to places where I have lived: Paris, Sardinia in the summer, and Rome.


To keep up-to-date, input your email address, and we will contact you on publication

Please alert me via email when:


The author releases another book