A high wind in Jamaica — Reading Notes

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In Category - Pirate Stories
Hughes, Richard, 1900-1976 Project Gutenberg 2025 Not confirmed
Sea stories; Children -- Fiction; Pirates -- Fiction Readers of public-domain and historical texts
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Words 64,653
Reading time 282 min
Text sections 14

This digital edition of A high wind in Jamaica — Reading Notes is described by source-level measurements including 64,653 words, 4 hr 42 min estimated reading time, and 14 detected text sections.

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Project Gutenberg metadata also associates the work with “Sea stories,” connecting these edition facts with the source record’s subject description.

Richard Hughes's 1929 novel opens with a decaying Jamaican plantation, then follows the Bas-Thornton children captured by pirates. The narrative shifts between the children's perceptions and an adult narrator's detached irony, creating a disquieting gap between innocence and violence.
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: but that was quite enough. They cannot be mistaken for living people, because their heads are turned backwards on their shoulders, and they carry a chain: moreover one must never call them duppies to their faces, as it gives them power. This poor man forgot, and called out ‘_Duppy!_’ when he saw it. He got terrible rheumatics.

Lame-foot Sam told most stories. He used to sit all day on the stone barbecues where the pimento was dried, digging maggots out of his toes. This seemed at first very horrid to the children, but he seemed quite contented: and when jiggers got under their own skins, and laid their little bags of eggs there, it was not absolutely unpleasant. John used to get quite a sort of thrill from rubbing the place. Sam told them the Anansi stories: Anansi and the Tiger, and how Anansi looked after the Crocodile’s nursery, and so on. Also he had a little poem which impressed them very much:

Quacko Sam Him bery fine man: Him dance all de dances dat de darkies can: Him dance de schottische, him dance de Cod Reel: Him dance ebery kind of dance till him foot-bottom peel.

Perhaps that was how old Sam’s own affliction first came about: he was very sociable. He was said to have a great many children.

The stream which fed the bathing-hole ran into it down a gully through the bush which offered an enticing vista for exploring: but somehow the children did not often go up it very far. Every stone had to be overturned in the hope of finding cray-fish: or if not, John had to take a sporting gun, which he bulleted with spoonfuls of water to shoot humming-birds on the wing, too tiny frail quarry for any solider projectile. For, only a few yards up, there was a Frangipani tree: a mass of brilliant blossom and no leaves, which was almost hidden in a cloud of humming-birds so vivid as much to outshine the flowers. Writers have often lost their way trying to explain how brilliant a jewel the humming-bird is: it cannot be done.

They build their wee woollen nests on the tops of twigs, where no snake can reach them. They are devoted to their eggs, and will not move though you touch them. But they are so delicate the children never did that: they held their breath and stared and stared--and were out-stared.

Somehow the celestial vividness of this barrier generally arrested them: it was seldom they explored further: only once, I think, on a day when Emily was feeling peculiarly irritated.

It was her own tenth birthday. They had frittered away all the morning in the glass-like gloom of the bathing-hole. Now John sat naked on the bank making a wicker trap. In the shallows the small ones rolled and chuckled. Emily, for coolness, sat up to her chin in water, and hundreds of infant fish were tickling with their inquisitive mouths every inch of her body, a sort of expressionless light kissing.

Anyhow she had lately come to hate being touched--but this was abominable. At last, when she could stand it no longer, she clambered out and dressed. Rachel and Laura were too small for a long walk: and the last thing, she felt, that she wanted was to have one of the boys with her: so she stole quietly past John’s back, scowling balefully at him for no particular reason. Soon she was out of sight among the bushes.

She pushed on rather fast, not taking much notice of things, up the river bed for about three miles. She had never been so far afield before. Then her attention was caught by a clearing leading down to the water: and here was the source of the river. She caught her breath delightedly: it bubbled up clear and cold, through three distinct springs, under a clump of bamboos, just as a river should: the greatest possible find, and a private discovery of her own. She gave instantaneous inward thanks to God for thinking of such a perfect birthday treat, especially as things had seemed to be going all wrong: and then began to ferret in the limestone sources with the whole length of her arm, among the ferns and cresses.

Hearing a splash, she looked round. Some half-dozen strange negro children had come down the clearing to fetch water and were staring at her in astonishment. Emily stared back. In sudden terror they flung down their calabashes and galloped away up the clearing like hares. Immediately, but with dignity, Emily followed them. The clearing narrowed to a path, and the path led in a very short time to a village.

It was all ragged and unkempt, and shrill with voices. There were small one-storey wattle huts dotted about, completely overhung by the most enormous trees. There was no sort of order: they appeared anywhere: there were no railings, and only one or two of the most terribly starved, mangy cattle to keep in or out. In the middle of all was an indeterminate quagmire or muddy pond, where a group of half-naked negroes, and totally naked black children, and a few brown ones, were splashing with geese and ducks.

Emily stared: they stared back. She made a movement towards them: they separated at once into the various huts, and watched her from there. Encouraged by the comfortable feeling of inspiring fright she advanced, and at last found an old creature who would talk: Dis Liberty Hill, dis Black Man’s Town, Old-time niggers, dey go fer run from de bushas (overseers), go fer live here. De piccaninnies, dey never see buckras (whites).... And so on. It was a refuge, built by runaway slaves, and still inhabited.

And then, that her cup of happiness might be full, some of the bolder children crept out and respectfully offered her flowers--really to get a better look at her pallid face. Her heart bubbled up in her, she swelled with glory: and taking leave with the greatest condescension she trod all the long way home on veritable air, back to her beloved family, back to a birthday cake wreathed with stephanotis, lit with ten candles, and in which it so happened that the sixpenny piece was invariably found in the birthday-person’s slice.

This was, fairly typically, the life of an English family in Jamaica. Mostly these only stayed a few years. The Creoles--families who had been in the West Indies for more than one generation--gradually evolved something a little more distinctive. They lost some of the traditional mental mechanism of Europe, and the outlines of a new one began to appear.

There was one such family the Bas-Thorntons were acquainted with, who had a ramshackle estate to the eastward. They invited John and Emily to spend a couple of days with them, but Mrs. Thornton was in two minds about letting them go, lest they should learn bad ways. The children there were a wildish lot, and, in the morning at least, would often run about barefoot like negroes, which is a very important point in a place like Jamaica where the whites have to keep up appearances. They had a governess whose blood was possibly not pure, and who used to beat the children ferociously with a hair-brush. However, the climate at the Fernandez’s place was healthy, and also Mrs. Thornton thought it good for them to have some intercourse with other children outside their own family, however undesirable: and she let them go.

It was the afternoon after that birthday, and a long buggy-ride. Both fat John and thin Emily were speechless and solemn with excitement: it was the first visit they had ever paid. Hour after hour the buggy laboured over the uneven road. At last the lane to Exeter, the Fernandez’s place, was reached. It was evening, the sun about to do his rapid tropical setting. He was unusually large and red, as if he threatened something peculiar. The lane, or drive, was gorgeous: for the first few hundred yards it was entirely hedged with ‘seaside grapes,’ clusters of fruit half-way between a gooseberry and a golden pippin, with here and there the red berries of coffee trees newly planted among the burnt stumps in a clearing, but already neglected. Then a massive stone gateway in a sort of Colonial-Gothic style. This had to be circumvented: no one had taken the trouble to heave open the heavy gates for years. There was no fence, nor ever had been, so the track simply passed it by.

And beyond the gates an avenue of magnificent cabbage-palms. No tree, not oldest beech nor chestnut, is more spectacular in an avenue: rising a sheer hundred feet with no break in the line before the actual crown of plumes; and palm upon palm, palm upon palm, like a heavenly double row of pillars, leading on interminably, till even the huge house was dwarfed into a sort of ultimate mouse-trap.

As they journeyed on between these palms the sun went suddenly down, darkness flooded up round them out of the ground, retorted to almost immediately by the moon. Presently, shimmering like a ghost, an old blind white donkey stood in their way. Curses did not move him: the driver had to climb down and push him aside. 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. In the valley beneath the fire-flies came to life: as if at a signal passed along, wave after wave after wave of light swept down the gorge. From a neighbouring hill the cockatoos began their serenade, an orchestration of drunk men laughing against iron girders tossed at each other and sawn up with rusty hack-saws: the most awful noise. But Emily and John, so far as they noticed it at all, found it vaguely exhilarating. Through it could presently be distinguished another sound: a negro praying. They soon came near him: where an orange tree loaded with golden fruit gleamed dark and bright in the moonlight, veiled in the pinpoint scintillation of a thousand fire-flies sat the old black saint among the branches, talking loudly, drunkenly, and confidentially with God.

Almost unexpectedly they came on the house, and were whisked straight off to bed. Emily omitted to wash, since there seemed such a hurry, but made up for it by spending an unusually long time over her prayers. She pressed her eyeballs devoutly with her fingers to make sparks appear, in spite of the slightly sick feeling it always induced: and then, already sound asleep, clambered, I suppose, into bed.

The next day the sun rose as he had set: large, round, and red. It was blindingly hot, foreboding. Emily, who woke early in a strange bed, stood at the window watching the negroes release the hens from the chicken-houses, where they were shut up at night for fear of John-crows. As each bird hopped sleepily out, the black passed his hand over its stomach to see if it meditated an egg that day: if so, it was confined again, or it would have gone off and laid in the bush. It was already as hot as an oven. Another black, with eschatological yells and tail-twistings and lassoings, was confining a cow in a kind of pillory, that it might have no opportunity of sitting down while being milked. The poor brute’s hooves were aching with the heat, its miserable tea-cup of milk fevered in its udder. Even as she stood at the shady window Emily felt as sweaty as if she had been running. The ground was fissured with drought.

Margaret Fernandez, whose room Emily was sharing, slipped out of bed silently and stood beside her, wrinkling the short nose in her pallid face.

‘Good morning,’ said Emily politely.

‘Smells like an earthquake,’ said Margaret, and dressed. Emily remembered the awful story about the governess and the hair-brush: certainly Margaret did not use one for its ordinary purpose, though she had long hair: so it must be true.

Margaret was ready long before Emily, and banged out of the room. Emily followed later, neat and nervous, to find no one. The house was empty. Presently she spied John under a tree, talking to a negro boy. By his off-hand manner Emily guessed he was telling _disproportionate_ stories (not _lies_) about the importance of Ferndale compared with Exeter. She did not call him, because the house was silent and it was not her place, as guest, to alter anything: so she went out to him. Together they circumnavigated: they found a stable-yard, and negroes preparing ponies, and the Fernandez children, barefoot even as Rumour had whispered. Emily caught her breath, shocked. Even at that moment a chicken, scuttling across the yard, trod on a scorpion and tumbled over stark dead as if shot. But it was not so much the danger which upset Emily as the unconventionality.

‘Come on,’ said Margaret: ‘it’s much too hot to stay about here. We’ll go down to Exeter Rocks.’

The cavalcade mounted--Emily very conscious of her boots, buttoned respectably half-way up her calf. Somebody had food, and calabashes of water. The ponies evidently knew the way. The sun was still red and large: the sky above cloudless, and like blue glaze poured over baking clay: but close over the ground a dirty grey haze hovered. As they followed the lane towards the sea they came to a place where, yesterday, a fair-sized spring had bubbled up by the roadside. Now it was dry. But even as they passed a kind of gout of water gushed forth: and then it was dry again, although gurgling inwardly to itself. But the cavalcade were hot, far too hot to speak to one another: they sat their ponies as loosely as possible, longing for the sea.

The morning advanced. The heated air grew quite easily hotter, as if from some reserve of enormous blaze on which it could draw at will. Bullocks only shifted their stinging feet when they could bear the soil no longer: even the insects were too languorous to pipe, the basking lizards hid themselves and panted. It was so still you could have heard the least buzz a mile off. Not a naked fish would willingly move his tail. The ponies advanced because they must. The children ceased even to muse.

They all very nearly jumped out of their skins; for close at hand a crane had trumpeted once desperately. Then the broken silence closed down as flawless as before. They perspired twice as violently with the stimulus. Their pace grew slower and slower. It was no faster than a procession of snails that at last they reached the sea.

Exeter Rocks is a famous place. A bay of the sea, almost a perfect semicircle, guarded by the reef: shelving white sands to span the few feet from the water to the under-cut turf: and then, almost at the mid point, a jutting-out shelf of rocks right into deep water--fathoms deep. And a narrow fissure in the rocks, leading the water into a small pool, or miniature lagoon, right inside their bastion. There it was, safe from sharks or drowning, that the Fernandez children meant to soak themselves all day, like turtles in a crawl. The water of the bay was as smooth and immovable as basalt, yet clear as the finest gin: albeit the swell muttered a mile away on the reef. The water within the pool itself could not reasonably be smoother. No sea-breeze thought of stirring. No bird trespassed on the inert air.

For a while they had not energy to get into the water, but lay on their faces, looking down, down, down, at the sea-fans and sea-feathers, the scarlet-plumed barnacles and corals, the black and yellow schoolmistress-fish, the rainbow-fish--all that forest of ideal Christmas trees which is a tropical sea-bottom. Then they stood up, giddy and seeing black, and in a trice were floating suspended in water like drowned ones, only their noses above the surface, under the shadow of a rocky ledge.

An hour or so after noon they clustered together, puffy from the warm water, in the insufficient shade of a Panama fern: ate such of the food they had brought as they had appetite for; and drank all the water, wishing for more. Then a very odd thing happened: for even as they sat there they heard the most peculiar sound: a strange, rushing sound that passed overhead like a gale of wind--but not a breath of breeze stirred, that was the odd thing: followed by a sharp hissing and hurtling, like a flight of rockets, or gigantic swans--very distant rocs, perhaps--on the wing. They all looked up: but there was nothing at all. The sky was empty and lucid. Long before they were back in the water again all was still. Except that after a while John noticed a sort of tapping, as if some one were gently knocking the outside of a bath you were in. But the bath they were in had no outside, it was solid world. It was funny.

By sunset they were so weak from long immersion they could barely stand up, and as salted as bacon: but, with some common impulse, just before the sun went down they all left the rocks and went and stood by their clothes, where the ponies were tethered, under some palms. As he sank the sun grew even larger: and instead of red was now a sodden purple. Down he went, behind the western horn of the bay, which blackened till its water-line disappeared and substance and reflection seemed one sharp symmetrical pattern.

Not a breath of breeze even yet ruffled the water: yet momentarily it trembled of its own accord, shattering the reflections: then was glassy again. On that the children held their breath, waiting for it to happen.

A school of fish, terrified by some purely sub-marine event, thrust their heads right out of the water, squattering across the bay in an arrowy rush, dashing up sparkling ripples with the tiny heave of their shoulders: yet after each disturbance all was soon like hardest, dark, thick, glass.

Once things vibrated slightly, like a chair in a concert-room: and again there was that mysterious winging, though there was nothing visible beneath the swollen iridescent stars.

Then it came. The water of the bay began to ebb away, as if some one had pulled up the plug: a foot or so of sand and coral gleamed for a moment new to the air: then back the sea rushed in miniature rollers which splashed right up to the feet of the palms. Mouthfuls of turf were torn away: and on the far side of the bay a small piece of cliff tumbled into the water: sand and twigs showered down, dew fell from the trees like diamonds: birds and beasts, their tongues at last loosed, screamed and bellowed: the ponies, though quite unalarmed, lifted up their heads and yelled.

That was all: a few moments. Then silence, with a rapid countermarch, recovered all his rebellious kingdom. Stillness again. The trees moved as little as the pillars of a ruin, each leaf laid sleekly in place. The bubbling foam subsided: the reflections of the stars came out among it as if from clouds. Silent, still, dark, placid, as if there could never have been a disturbance. The naked children too continued to stand motionless beside the quiet ponies, dew on their hair and eyelashes, shine on their infantile round paunches.

But as for Emily, it was too much. The earthquake went completely to her head. She began to dance, hopping laboriously from one foot on to another. John caught the infection. He turned head over heels on the damp sand, over and over in an elliptical course, till before he knew it he was in the water, and so giddy as hardly to be able to tell up from down.

At that, Emily knew what it was she wanted to do. She scrambled on to a pony and galloped him up and down the beach, trying to bark like a dog. The Fernandez children stared, solemn but not disapproving. John, shaping a course for Cuba, was swimming as if sharks were paring his toe-nails. Emily rode her pony into the sea, and beat and beat him till he swam: and so she followed John towards the reef, yapping herself hoarse.

It must have been fully a hundred yards before they were spent. Then they turned for the shore, John holding on to Emily’s leg, puffing and gasping, both a little overdone, their emotion run down. Presently John gasped:

The novel begins not at sea but on land, with a decaying Jamaican plantation called Derby Hill. The narrator describes the ruins left by Emancipation—sugar buildings fallen down, bush smothering the cane—and the two Miss Parkers, heiresses who were "starved altogether to death" or perhaps given ground glass. This opening establishes a tone of ironic detachment: the narrator reports grim details (old blood and feathers on a gilt table) with a cool, almost anthropological precision. The children of the Bas-Thornton family are introduced later, but the initial focus is on a world where order has collapsed and the remnants of colonial prosperity are being consumed by vegetation and neglect.

The Children's Uncertain Grip on Events

The excerpts show that the children—Emily, Edward, Rachel, Laura, and the younger ones—experience their capture and life aboard the pirate schooner through a filter of misunderstanding and fantasy. When the adults debate whether the ship's crew are pirates or pilots, the children consult an oracle called "the Mouse with the Elastic Tail," which pronounces them pilots. Edward, however, privately disbelieves and imagines himself becoming captain after Jonsen is killed in battle. The narrator notes that Emily "was afraid of the answer" and preferred to pretend not to know. This gap between what the children perceive and what the reader suspects is a central tension: the reader must weigh the children's limited, often self-serving interpretations against the narrator's hints of a more dangerous reality.

Memory as a Patchwork of Luminous Pictures

For the younger children, memory of their former life in Jamaica has fragmented into "a number of luminous pictures of quite unimportant incidents." Emily, who remembers more, tries to piece together events: the death of Tabby, the earthquake, the house falling down. But her reconstruction is uncertain—"It was all a little difficult to join up." The narrator emphasizes that even for Emily, the past is a jumble of vivid but disconnected images, such as bending down to feel a bubbling spring and seeing black children scampering away. This treatment of memory suggests that the children's inner lives are not simply innocent but are actively reshaping experience into manageable, often self-serving narratives. The reader is left to wonder how reliable any of their recollections might be.

Shifting Alliances and Imagined Futures

Edward strides the deck scowling, convinced the ship is a pirate vessel and that he will one day be elected captain. He finds the girls a "great nuisance" and plans to have them marooned. Yet the narrator reveals that Edward himself once wished he were a girl, and that Harry, the younger boy, also wishes he were a girl—but for the opposite reason: he finds the company of girls "almost magically pleasing" and feels shut out from their councils. These crosscurrents of desire and rivalry show that the children's social world is as complex and shifting as the adult one. The narrator's cool observation of these dynamics—Edward's bravado, Harry's devotion to Rachel and Laura—creates a portrait of childhood that is neither sentimental nor purely innocent, but marked by ambition, jealousy, and a constant negotiation of power.

The Narrator's Ironic Distance

Throughout the excerpts, the narrator maintains a tone of detached irony, reporting the children's thoughts and actions without endorsing them. When Emily consults the Mouse with the Elastic Tail, the narrator simply records the squeaks and the announcement. When Edward imagines his future as captain, the narrator notes that "secretly he had long ceased to believe in" the White Mouse. This ironic distance extends to the adults as well: the pirates are never directly described as such, only through the children's uncertain labels. The effect is to keep the reader at a remove, forcing us to interpret events without the comfort of a reliable guide. The narrator's voice—cool, precise, occasionally wry—becomes a character in its own right, shaping how we understand the story's moral ambiguities.

The World of Ruins and Neglect

The opening description of Derby Hill sets a pattern: the physical world is in decay, overgrown, and haunted by the aftermath of Emancipation. The house is "lashed permanently open by a rank plant," the jalousies replaced by vines, and the old Miss Parkers live in bed because their clothes have been taken. This imagery of ruin and neglect recurs in the children's memories—the house that "tumbled down flat," the earthquake, the high wind. The natural world is not a backdrop but an active force, consuming human structures and erasing the past. The reader is invited to see the children's voyage as another kind of ruin, a journey into a world where the certainties of home have already been dismantled.

As you read, pay attention to the moments when the narrator's voice intrudes—those cool, parenthetical observations that undercut the children's certainties. The novel's power lies not in the plot of pirate capture but in the dissonance between what the children think is happening and what the reader suspects. The opening image of the ruined plantation is a key: it suggests that the real subject is not adventure but the slow, inexorable decay of a world, and the strange, unanchored consciousness of the children adrift within it.

I’ve often shelved A High Wind in Jamaica beside that old yarn, Wolves of the Sea Being a Tale of the Colonies from the Manuscript of One Geoffry Carlyle, Seaman, Narrating Certain Strange Adventures Which Befell Him Aboard the — Story, Setting & Ideas. Both whisper how the sea keeps its own ledger, indifferent to the children’s games played upon its deck. A quiet unease lingers between their pages, like salt in old cloth.

Leo Roberts
2 weeks ago

James Martinez
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Charlotte Ramirez
1 month ago

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    Amy Davis - 1 month ago
    A High Wind In Jamaica is a stunningly dark and original novel that subverts the classic pirate adventure. Richard Hughes' prose is sharp and evocative, plunging the reader into the chaotic world of children captured by pirates. The psychological depth and moral ambiguity are breathtaking, making this a timeless classic that challenges conventional narratives. A must-read for anyone seeking literature that pushes boundaries.

  • ...
    David Ellis - 1 month ago
    A High Wind In Jamaica offers a unique take on the pirate genre with its focus on the children's perspective. The writing is vivid and the atmosphere is palpable, especially in the storm scenes. However, the narrative can feel disjointed at times, and the abrupt shifts in tone might not appeal to all readers. Still, it's a thought-provoking read.

  • ...
    Seth Cindy Anderson - 1 month ago
    While A High Wind In Jamaica is praised for its literary merit, I found it deeply unsettling and hard to connect with. The children's moral detachment is presented without clear judgment, which made the story feel cold and disorienting. The pacing drags in the middle, and the ending leaves much to be desired. I appreciate the ambition, but this isn't a pleasant or satisfying read.


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