On an autumn day in 2006, on the Isle of Wight, Jack Luxton—once a Devon farmer, now the proprietor of a seaside caravan park—receives the news that his brother, Tom, not seen for years, has been killed in combat in Iraq. For Jack and his wife, Ellie, this will have unexpected, far-reaching effects. For Jack in particular it means a crucial journey: to receive his brother’s remains and to confront his most secret, troubling memories.
A hauntingly intimate, deeply compassionate story about things that touch and test our human core, Wish You Were Here also looks, inevitably, to a wider, afflicted world. Moving toward a fiercely suspenseful climax, it brilliantly transforms the stuff of headlines into heart-wrenching personal truth.
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Editorial Reviews
Review
“Exquisite . . . Jamesian in sensibility and to some degree in style, [Swift] finds tragedy in the most ordinary conversation. . . . . You forget how piercing this sort of thing can be until you see Swift doing it so well, and with such patience. The depth of field in a Swift novel, thematically and emotionally, is vast. At his best, he suggests that looking intently at the smallest, most mundane thing can yield a glimpse into the meaning of life. . . . Beautifully made . . . [an] abundance of subtlety, tenderness and fluid prose.”
—Stacey D’Erasmo, The New York Times Book Review
“An extraordinary novel, the work of an artist with profound insight into human nature and the mature talent to deliver it. . . . As every truly great novelist does, in this new book, [Swift] demonstrates that perfect coordination between style and story. . . . [A] honed and driven story. Honestly, I can’t remember when I cared so passionately about how a novel might end.”
—Ron Charles, The Washington Post
“Vivid, emotionally raw . . . Swift is a writer who clearly revels in dialogue and nuance, and in Jack he has crafted a marvelously rich character whose quiet, outwardly closed-off nature belies profound internal turmoil. . . . Thoughtful and sensitive.”
—Michael Patrick Brady, The Boston Globe
“Powerful . . . This perfectly titled novel is about longing for the people in our lives who have died . . . Like Swift’s Waterland, this book explores the ways the past haunts us, and, like his Booker Prize–winning Last Orders, it uses a death as a provocation for the examination of self and country . . . Recommended for fans of Ian McEwan, Michael Ondaatje, and Kazuo Ishiguro.”
—Evelyn Beck, Library Journal
“Part ghost story, part whodunit, part tour d’horizon of a nation that seems to have lost faith in tradition and history, it is also a deeply human tale about a man driven to the edge. Praise be for a serious novel that dares to look current affairs in the face.”
—Paul Dunn, The Times (London)
“A subtly powerful novel . . . Booker Prize winner Swift is masterful in his penetrating evocation of the land Jack loves, the many languages a body can speak, and the cavernous unknown concealed beneath apparent intimacy. Brilliantly illuminating the wounded psyches of his characters, circling back to corral the secrets of the past while finding the timeless core within present conflicts, and consummately infusing this gorgeously empathic tale with breath-holding suspense, Swift tests ancient convictions about birthright, nature, love, heroism, war, death, and the covenant of grief. Readers enthralled by Julian Barnes and Ian McEwan will queue up for Swift’s virtuoso novel.”
—Donna Seaman, Booklist (starred)
“A novel as contemporary as international terrorism and the war in Iraq and as timeless as mortality, from one of Britain’s literary masters. ‘The past is past, and the dead are the dead,’ was the belief of the strong-willed Ellie, whose husband, Jack, a stolid former farmer, is the protagonist of Swift’s ninth and most powerful novel. As anyone will recognize who is familiar with his prize-winning masterworks, such a perspective on the past is in serious need of correction, which this novel provides in a subtly virtuosic and surprisingly suspenseful manner. It’s a sign of Swift’s literary alchemy that he gleans so much emotional and thematic richness from such deceptively common stock . . . Profound empathy and understated eloquence mark a novel so artfully nuanced that the last few pages send the reader back to the first few, with fresh understanding.”
—Kirkus Reviews (starred)
Reviews from the UK:
“Like its predecessors, most notably Waterland and Last Orders, Wish You Were Here is a book of quiet emotional integrity . . . The novel expertly explores the poignant contrast between irrepressible human hope and the constraints within which we live our finite lives.”
—The Times
“An extraordinary novel . . . Novelists, being on the whole brainy people, like to write about brainy people, or make their characters better with words than they would be in real life . . . But as Swift’s novels so brilliantly prove, just because someone doesn’t have a way with words doesn’t mean they can’t experience deep emotion, or be powerfully moved by the forces of history and time . . . I doubt there is a better novelist than Swift for this kind of story.”
—Evening Standard
“Like Ian McEwan’s Saturday, or Sebastian Faulks’s A Week in December, this novel draws on events from the news pages . . . But this emotionally complex novel is not mere reportage . . . It is Swift’s most intimately revelatory novel yet . . . This is a profound and powerful portrait of a nation and a man in crisis that, for all its gentle intensity, also manages to be an unputdownable read.”
—Scotland on Sunday
“Wish You Were Here is a work of wide, ambitious span . . . Recounted in pages of affecting, powerfully sober prose . . . What gives [the novel] a compelling hold is Swift’s real strength, the authenticity that hallmarks his portrayals of people in crisis.”
—The Sunday Times
“An acutely observed, compelling read.”
—Daily Mail
“Swift is as brilliant as ever on the potency of family myth . . . This novel is often astonishingly moving.”
—Sunday Express
“I cannot tell you exactly how long after I finished this book that I sat, holding it, in stunned silence for—but it was light when I finished it and dark when I put it down. Some books can do that to you. This is one of them . . . Jack is a sort of Heathcliff type of character . . . Totally captivating . . . There’s such a beautiful tone to the writing and it’s so moving that I cannot imaging it failing to move anyone . . . Swift has already won one Man Booker prize—this deserves another nomination.”
—The Bookbag
“Swift’s best since Waterland . . . It begins to read like a thriller . . . Here Swift parcels out information like an Agatha Christie detective . . . The pace quickens and quickens. Almost against your will you find yourself racing through Swift’s brief chapters.”
—Express
—Stacey D’Erasmo, The New York Times Book Review
“An extraordinary novel, the work of an artist with profound insight into human nature and the mature talent to deliver it. . . . As every truly great novelist does, in this new book, [Swift] demonstrates that perfect coordination between style and story. . . . [A] honed and driven story. Honestly, I can’t remember when I cared so passionately about how a novel might end.”
—Ron Charles, The Washington Post
“Vivid, emotionally raw . . . Swift is a writer who clearly revels in dialogue and nuance, and in Jack he has crafted a marvelously rich character whose quiet, outwardly closed-off nature belies profound internal turmoil. . . . Thoughtful and sensitive.”
—Michael Patrick Brady, The Boston Globe
“Powerful . . . This perfectly titled novel is about longing for the people in our lives who have died . . . Like Swift’s Waterland, this book explores the ways the past haunts us, and, like his Booker Prize–winning Last Orders, it uses a death as a provocation for the examination of self and country . . . Recommended for fans of Ian McEwan, Michael Ondaatje, and Kazuo Ishiguro.”
—Evelyn Beck, Library Journal
“Part ghost story, part whodunit, part tour d’horizon of a nation that seems to have lost faith in tradition and history, it is also a deeply human tale about a man driven to the edge. Praise be for a serious novel that dares to look current affairs in the face.”
—Paul Dunn, The Times (London)
“A subtly powerful novel . . . Booker Prize winner Swift is masterful in his penetrating evocation of the land Jack loves, the many languages a body can speak, and the cavernous unknown concealed beneath apparent intimacy. Brilliantly illuminating the wounded psyches of his characters, circling back to corral the secrets of the past while finding the timeless core within present conflicts, and consummately infusing this gorgeously empathic tale with breath-holding suspense, Swift tests ancient convictions about birthright, nature, love, heroism, war, death, and the covenant of grief. Readers enthralled by Julian Barnes and Ian McEwan will queue up for Swift’s virtuoso novel.”
—Donna Seaman, Booklist (starred)
“A novel as contemporary as international terrorism and the war in Iraq and as timeless as mortality, from one of Britain’s literary masters. ‘The past is past, and the dead are the dead,’ was the belief of the strong-willed Ellie, whose husband, Jack, a stolid former farmer, is the protagonist of Swift’s ninth and most powerful novel. As anyone will recognize who is familiar with his prize-winning masterworks, such a perspective on the past is in serious need of correction, which this novel provides in a subtly virtuosic and surprisingly suspenseful manner. It’s a sign of Swift’s literary alchemy that he gleans so much emotional and thematic richness from such deceptively common stock . . . Profound empathy and understated eloquence mark a novel so artfully nuanced that the last few pages send the reader back to the first few, with fresh understanding.”
—Kirkus Reviews (starred)
Reviews from the UK:
“Like its predecessors, most notably Waterland and Last Orders, Wish You Were Here is a book of quiet emotional integrity . . . The novel expertly explores the poignant contrast between irrepressible human hope and the constraints within which we live our finite lives.”
—The Times
“An extraordinary novel . . . Novelists, being on the whole brainy people, like to write about brainy people, or make their characters better with words than they would be in real life . . . But as Swift’s novels so brilliantly prove, just because someone doesn’t have a way with words doesn’t mean they can’t experience deep emotion, or be powerfully moved by the forces of history and time . . . I doubt there is a better novelist than Swift for this kind of story.”
—Evening Standard
“Like Ian McEwan’s Saturday, or Sebastian Faulks’s A Week in December, this novel draws on events from the news pages . . . But this emotionally complex novel is not mere reportage . . . It is Swift’s most intimately revelatory novel yet . . . This is a profound and powerful portrait of a nation and a man in crisis that, for all its gentle intensity, also manages to be an unputdownable read.”
—Scotland on Sunday
“Wish You Were Here is a work of wide, ambitious span . . . Recounted in pages of affecting, powerfully sober prose . . . What gives [the novel] a compelling hold is Swift’s real strength, the authenticity that hallmarks his portrayals of people in crisis.”
—The Sunday Times
“An acutely observed, compelling read.”
—Daily Mail
“Swift is as brilliant as ever on the potency of family myth . . . This novel is often astonishingly moving.”
—Sunday Express
“I cannot tell you exactly how long after I finished this book that I sat, holding it, in stunned silence for—but it was light when I finished it and dark when I put it down. Some books can do that to you. This is one of them . . . Jack is a sort of Heathcliff type of character . . . Totally captivating . . . There’s such a beautiful tone to the writing and it’s so moving that I cannot imaging it failing to move anyone . . . Swift has already won one Man Booker prize—this deserves another nomination.”
—The Bookbag
“Swift’s best since Waterland . . . It begins to read like a thriller . . . Here Swift parcels out information like an Agatha Christie detective . . . The pace quickens and quickens. Almost against your will you find yourself racing through Swift’s brief chapters.”
—Express
About the Author
Graham Swift lives in London and is the author of eight previous novels: The Sweet-Shop Owner; Shuttlecock, which received the Geoffrey Faber Memorial Prize; Waterland, which was short-listed for the Booker Prize and won The Guardian Fiction Award, the Winifred Holtby Memorial Prize, and the Italian Premio Grinzane Cavour; Out of This World; Ever After, which won the French Prix du Meilleur Livre Étranger; Last Orders, which was awarded the Booker Prize; The Light of Day; and, most recently, Tomorrow. He is also the author of Learning to Swim, a collection of short stories, and Making an Elephant, a nonfiction book. His work has been translated into more than thirty languages.
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Customer Reviews
Most Helpful Customer Reviews
12 of 13 people found the following review helpful
Format:Hardcover|Amazon Vine™ Review
(What's this?)
With With You Were Here, Graham Swift returns to that which he does better than anyone else -- the contemplative novel that probes the innermost secrets of the past and how they affect the present and future. Jack Luxton's transition from running the Devonshire farm his family ran for over 400 years into a proprietor of a caravan holiday site on the Isle of Wight is neither simply explained or treated lightly. Hs inner growth has been shaped mostly by those around him who are now mostly gone. All remaining is his wife, Ellie, who has been with him his entire life.
Swift's extraordinary gift is to portray the inner lives of all the characters in this book, not just Jack and his family, but anyone who remotely comes in contact with the story, giving a full satisfying quality.it I have been reading him for over 20 years now, and know when I sit down with one of his boos, Swift will deliver. He is a patient writer and expects and extracts the same level of attention from his readers. This is definitely not for anyone looking for a quick read, but for someone looking for a book with more meat on its bones. The story is not linear -- but that is not to say it is confusing. The patient reader will be rewarded by paying strict attention to the detail, not be thrown by what appears to be a meandering timeline. By the end, it all comes together in a satisfying whole.
Swift's extraordinary gift is to portray the inner lives of all the characters in this book, not just Jack and his family, but anyone who remotely comes in contact with the story, giving a full satisfying quality.it I have been reading him for over 20 years now, and know when I sit down with one of his boos, Swift will deliver. He is a patient writer and expects and extracts the same level of attention from his readers. This is definitely not for anyone looking for a quick read, but for someone looking for a book with more meat on its bones. The story is not linear -- but that is not to say it is confusing. The patient reader will be rewarded by paying strict attention to the detail, not be thrown by what appears to be a meandering timeline. By the end, it all comes together in a satisfying whole.
17 of 20 people found the following review helpful
Format:Hardcover|Amazon Vine™ Review
(What's this?)
I'm going to catch it from Swift admirers here, but so be it. I'm truthfully recounting my experience of reading the book. The irony of it is that I AM a great admirer of Swift, especially of Waterland, which yet remains, to my mind, the single greatest Post-WWII single volume work of fiction that England has produced. Swift has become a literary icon in the UK. His works are on every school syllabus. He can be assured that anything he writes will be published and that it will receive head-over-heels glowing reviews - if the reviewers want to retain their jobs. I'm not so sure that this is such a great place for a writer to find himself, and Wish You Were Here bears this out.
Swift has come to specialise in laconic characters in whom deep currents run. He pulls off this sort of thing astoundingly well in a recent novel, The Light of Day, which I would heartily urge to anyone over this book. This particular book's laconic protagonist is Jack Luxton, who comes of age in Devon farmland during the twin catastrophes of Mad Cow Disease and Foot-and-Mouth disease. He marries Ellie, his childhood sweetheart, after both their fathers die - Jack's father shoots himself, leaving a hole in a centuries old oak - to which I'll return. With the money Jack accrues through the selling of the land the Luxtons have held for time immemorial and Ellie's inheritance, they set themselves up as owners of a caravan park - Americans read "trailer" or "RV" park - on the Isle of Wight. Thus, the setting.
In a recent interview in The Guardian, Swift has said that an image came into his head of a man sitting on his bed next to a loaded shotgun and that this book was the result of writing a story explaining how such a situation could come about. I'm not giving anything away; the shotgun scene comprises the first chapter. The problem for me is in this story.
Despite the adjectives of "subdued" and its various synonyms used to describe the book, entirely appropriate for the characters herein, the imagery and symbolism are actually quite over the top and don't click the way they do in most of Swift's previous novels. Further, the characters, to a one, were entirely predictable to me and came across as set pieces to whom, though I tried, I couldn't relate at all as human beings. They simply didn't pull me into the world Swift tries to create here and thus the book became - something I never thought I'd find myself saying about a Swift creation, more than a bit of a slog for me.
The reason for this is that Swift has so many "messages" in this book which he makes all too overt: Are mad cows really that different from mad humans? How long before a similar virus hits the human species and we start culling those infected or likely to be infected? How can we know what a cow feels, a dog feels, a subdued man feels? What does "repatriation" really mean? etc. etc.
Back to the oak tree and the hole in it, through which Jack and Ellie, before they were married, poked their fingers in and out of, as do the children of the upmarket Londoners who have bought the land and set it up as a Summer residence, and which - a touch obscenely - graces the cover of the book: Sex and death, anyone?
It's all just too garish and obvious. I wish it were not.
Swift has come to specialise in laconic characters in whom deep currents run. He pulls off this sort of thing astoundingly well in a recent novel, The Light of Day, which I would heartily urge to anyone over this book. This particular book's laconic protagonist is Jack Luxton, who comes of age in Devon farmland during the twin catastrophes of Mad Cow Disease and Foot-and-Mouth disease. He marries Ellie, his childhood sweetheart, after both their fathers die - Jack's father shoots himself, leaving a hole in a centuries old oak - to which I'll return. With the money Jack accrues through the selling of the land the Luxtons have held for time immemorial and Ellie's inheritance, they set themselves up as owners of a caravan park - Americans read "trailer" or "RV" park - on the Isle of Wight. Thus, the setting.
In a recent interview in The Guardian, Swift has said that an image came into his head of a man sitting on his bed next to a loaded shotgun and that this book was the result of writing a story explaining how such a situation could come about. I'm not giving anything away; the shotgun scene comprises the first chapter. The problem for me is in this story.
Despite the adjectives of "subdued" and its various synonyms used to describe the book, entirely appropriate for the characters herein, the imagery and symbolism are actually quite over the top and don't click the way they do in most of Swift's previous novels. Further, the characters, to a one, were entirely predictable to me and came across as set pieces to whom, though I tried, I couldn't relate at all as human beings. They simply didn't pull me into the world Swift tries to create here and thus the book became - something I never thought I'd find myself saying about a Swift creation, more than a bit of a slog for me.
The reason for this is that Swift has so many "messages" in this book which he makes all too overt: Are mad cows really that different from mad humans? How long before a similar virus hits the human species and we start culling those infected or likely to be infected? How can we know what a cow feels, a dog feels, a subdued man feels? What does "repatriation" really mean? etc. etc.
Back to the oak tree and the hole in it, through which Jack and Ellie, before they were married, poked their fingers in and out of, as do the children of the upmarket Londoners who have bought the land and set it up as a Summer residence, and which - a touch obscenely - graces the cover of the book: Sex and death, anyone?
It's all just too garish and obvious. I wish it were not.
7 of 7 people found the following review helpful
Format:Hardcover|Amazon Vine™ Review
(What's this?)
The book starts with a man sitting in his bedroom, a loaded shotgun by his side, waiting. It cycles back years to tell how he got there. His name is Jack. He's not a very articulate man so you might think he doesn't feel things. It's the beauty of this exceptional novel to show that he does -deeply. That's his burden.
Jack thought he had gotten beyond his traumatic past: the death of his mother, then the years of crushing work on the family dairy farm in Devon, then their herd having to be put down because of the threat of mad cow disease, the death of the family dog, his brother's running away at age 18 to join the army (but really to get away from the farm and his father); his father's suicide by the side of the old oak tree. Ellie's father dies soon after Jack's. Now they can marry, no longer in thrall to demanding fathers. Ellie persuades Jack to sell the farm -she has inherited a caravan (house trailer) park on the Isle of Wight-- and use the money to leave Devon and move to the coast. That's 1998.
For the next eight years, Ellie and Jack run a successful caravan park. Jack's happy and so is Ellie. Jack seems a new man. They even vacation a few weeks every year in far off St. Lucia. Then in 2006 comes a dreadful bit of news. A letter -delivered to the wrong address and now long overdue- finally reaches Jack. He calls to confirm he's received it. "I'm Jack Luxton," he says on the phone and soon he's receiving a visit from sympathetic Major Richards, whose job it is to break the news to the families of dead soldiers. Tom, his baby brother Tom who he'd always hoped would return to him some day, is dead, blown up by an IED in Basra, Iraq.
Inside Jack is the memory of a chain of blows taken but not dealt with. Tom's death cracks open the doors to despair. Jack, who has never been able to verbalize these things, is overwhelmed by guilt for the things he didn't say or do, the words that might have averted disaster. Why hadn't he wished Tom "good luck" before he slipped off in the middle of the night to escape the farm and his father? Why didn't he offer to buy his father a beer the morning he committed suicide? How could he have sold off the family estate and left a farm and house that had been in the family for generations?
And so to Jack in his bedsitting room. "Death, Jack thought ... was in many ways a great place of shelter. It was life and all its knowledge that was insupportable."
Wish You Were Here isn't for the impatient reader. You'll find no early clues in it as to how it will unfold. It starts and continues slow and there are apparent side paths en route that may seem digressions but ultimately everything that happens in this exceptional novel helps to flesh out the portrait of an ordinary man who can't go on living unless he can get beyond his past. Graham Swift does what truly good novelists should do: he treats his characters with the love and respect they deserve.
Jack thought he had gotten beyond his traumatic past: the death of his mother, then the years of crushing work on the family dairy farm in Devon, then their herd having to be put down because of the threat of mad cow disease, the death of the family dog, his brother's running away at age 18 to join the army (but really to get away from the farm and his father); his father's suicide by the side of the old oak tree. Ellie's father dies soon after Jack's. Now they can marry, no longer in thrall to demanding fathers. Ellie persuades Jack to sell the farm -she has inherited a caravan (house trailer) park on the Isle of Wight-- and use the money to leave Devon and move to the coast. That's 1998.
For the next eight years, Ellie and Jack run a successful caravan park. Jack's happy and so is Ellie. Jack seems a new man. They even vacation a few weeks every year in far off St. Lucia. Then in 2006 comes a dreadful bit of news. A letter -delivered to the wrong address and now long overdue- finally reaches Jack. He calls to confirm he's received it. "I'm Jack Luxton," he says on the phone and soon he's receiving a visit from sympathetic Major Richards, whose job it is to break the news to the families of dead soldiers. Tom, his baby brother Tom who he'd always hoped would return to him some day, is dead, blown up by an IED in Basra, Iraq.
Inside Jack is the memory of a chain of blows taken but not dealt with. Tom's death cracks open the doors to despair. Jack, who has never been able to verbalize these things, is overwhelmed by guilt for the things he didn't say or do, the words that might have averted disaster. Why hadn't he wished Tom "good luck" before he slipped off in the middle of the night to escape the farm and his father? Why didn't he offer to buy his father a beer the morning he committed suicide? How could he have sold off the family estate and left a farm and house that had been in the family for generations?
And so to Jack in his bedsitting room. "Death, Jack thought ... was in many ways a great place of shelter. It was life and all its knowledge that was insupportable."
Wish You Were Here isn't for the impatient reader. You'll find no early clues in it as to how it will unfold. It starts and continues slow and there are apparent side paths en route that may seem digressions but ultimately everything that happens in this exceptional novel helps to flesh out the portrait of an ordinary man who can't go on living unless he can get beyond his past. Graham Swift does what truly good novelists should do: he treats his characters with the love and respect they deserve.
Most Recent Customer Reviews
3.0 out of 5 stars
Not my usual fare, but I liked it
I'm a newbie to Swift and have gotten the impression from other reviews this is not his best work. Hmm. Read more
Published 3 months ago by Emily J. Morris
3.0 out of 5 stars
Not as good as some previous work
Last Orders was one of my favorite films of the late 90's, and the book didn't disappoint. This title, which is set in Dorset and the Isle Of Wight does disappoint, but probably... Read more
Published 4 months ago by Nagronsky
5.0 out of 5 stars
The power of memory
The title echoes the feelings of anti-hero Jack about key persons in his life. He first wrote "Wish you were here" as a 13-year old on a picture postcard to his lifelong... Read more
Published 6 months ago by P. A. Doornbos
5.0 out of 5 stars
Achingly moving and engrossing
Graham Swift has long been one of my favorite authors and Wish You Were Here does nothing to dissuade me from that viewpoint. Read more
Published 7 months ago by B. Capossere
3.0 out of 5 stars
Really wanted to love this
I really wanted to love this book, and part of me does, however it was a tedious read throughout much of the story. Read more
Published 7 months ago by Live, Laugh, Love...
3.0 out of 5 stars
The extraordinary struggles of ordinary man
This book opens with the main character, Jack, with a shotgun by his side. The subject of death seems to run through this book, and tragically Jack has many issues to deal with... Read more
Published 8 months ago by Melodie
4.0 out of 5 stars
Gripping Family Drama
Jack Luxton is a farmer. He has grown up on a farm in England that has been in his family for generations. Read more
Published 8 months ago by Sandra Kirkland
4.0 out of 5 stars
Struggling over a lost birth right
In his later years, Jack Luxton is making a good living tending to his flock of RVs in his "caravan" park on this Isle of Wight. Read more
Published 8 months ago by Adam Rust
2.0 out of 5 stars
On the verge...
A very soul searching and introspective Jack Luxton painfully replays his life.
The loss of his mother, suicide of his father, and death of his brother, Tom, in Iraq... Read more
The loss of his mother, suicide of his father, and death of his brother, Tom, in Iraq... Read more
Published 8 months ago by An Educated Consumer
5.0 out of 5 stars
"Death...was in many ways a great place of shelter. It was life and...
(4.5 stars) In this novel about the many aspects of death, Booker Prize winner Graham Swift offers no humor to leaven the heavy mood or the profound sadness which the novel evokes. Read more
Published 8 months ago by Mary Whipple
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