Pearl: Longlisted for the Booker Prize 2023 (signed edition)


Siân Hughes
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Longlisted for The Booker Prize 2023

Marianne is eight years old when her mother goes missing.

Left behind with her baby brother and grieving father in a ramshackle house on the edge of a small village, she clings to the fragmented memories of her mother’s love; the smell of fresh herbs, the games they played, and the songs and stories of her childhood.

As time passes, Marianne struggles to adjust, fixated on her mother’s disappearance and the secrets she’s sure her father is keeping from her. Discovering a medieval poem called Pearl and trusting in its promise of consolation, Marianne sets out to make a visual illustration of it, a task that she returns to over and over but somehow never manages to complete.

Tormented by an unmarked gravestone in an abandoned chapel and the tidal pull of the river, her childhood home begins to crumble as the past leads her down a path of self-destruction. But can art heal Marianne? And will her own future as a mother help her find peace?


Pearl, an exceptional debut novel, is both a mystery story and a meditation on grief, abandonment and consolation, evoking the profundities of the haunting medieval poem. The degree of difficulty in writing a book of this sort – at once quiet and hugely ambitious – is very high. It’s a book that will be passed from hand to hand for a long time to come.’
—The Booker Prize 2023 judges

‘Hughes’s novel, which is wonderful on the detail of a late 20th-century rural English childhood and at its best recalls Edna O’Brien’s masterful A Pagan Place, is radical in largely dispensing with dramatic tension in order to create a circling story that maps the lasting impact of a loss.’
The Guardian

Pearl is a novel that has wisdom and experience distilled into it, that defies its downbeat subject matter with the joy of its telling.’
The Times

‘Compulsive and wonderfully written, Pearl is a small gem.’
— The TLS

‘A quietly beautiful novel, full of grief and English poetry… A rare gem that fully deserves its Booker longlisting, and your attention.’
— The Telegraph

‘The prose has a bubbling verve that is deeply appealing’
The Financial Times

‘Siân Hughes’s voice moves us because she manages the difficult art of putting wit to the service of strong feeling – a rare achievement.’
Hugo Williams

‘Haunting, compelling, beautifully written; translates mythic and literary undercurrents into a modern setting.’
Bernard O’Donoghue

‘An utterly gripping psychological mystery.’
—Maureen Freely

‘A ghost story, a folk story, a story of loss and familial haunting, Sian Hughes’ Pearl is an enchanting and eerie exploration of how a child lays down the bones of an ancient past – a medieval poem – as a means of recuperating the voice of lost loved ones. A story about how we tell stories in the face of yawning gaps and deep sorrow.’
—Sally Bayley

‘It’s a beautiful, searching novel from start to finish – vividly told and movingly elegiac in its unfolding understanding of the psychology of loss. A terrific achievement.’
—Jane Draycott

‘Seamus Heaney award winner Hughes takes the classic text of the medieval poem Pearl as the root for this stunning debut.’
—The Sunday Post

‘Hughes’ writing is beautiful, full of details of space and place that give you the sense of being right by Marianne as she lives and breathes. The novel is written in the kind of first person narration that holds your gaze close to whatever the character experiences rather than tells us the story of their lives, with all its accompanying misdirection and philosophising.’
Rym Kechacha

‘Stunning, enchanting and riveting, Siân Hughes’ Pearl is a treasure to read. Pearl is beguiling in its beauty and will leave you aching for Marianne and her family, as she unravels the story of her mother’s life.’
Mirandi Riwoe

Published: 11 May 2023
ISBN: 978-1911648529
Cover design: © Luke Bird
Length: 224 pages
Dimensions: B Format Paperback with Flaps

Publicist: Claire Maxwell at Read Media
Agent: Peter Buckman at The Ampersand Agency
Foreign rights: The Marsh Agency

About the author

Siân Hughes is a writer who grew up in a small village in Cheshire where the story of Pearl is set. Returning to live there after her mother’s death, she borrowed from the medieval poem Pearl to write a story set in an old house she cycled past every day as a child.

Her first collection of poetry The Missing (Salt, 2009) was longlisted for the Guardian First Book Award, shortlisted for the Felix Dennis and Aldeburgh prizes, and won the Seamus Heaney Award. 

Pearl is her first novel.


I can pinpoint the exact moment the police stopped looking for a missing woman and started looking for a dead body. One that, by now, was probably beyond recognition. It was the day they stopped phoning my father to tell him they had found ‘someone’ and started to say ‘something’. Something in woodland. Something in the river. Something.

He would go off with them then, to see what they had found.

Lindsey would come and babysit, or her sister Mel, or both of them, if it was night time, because they found the place spooky, they said. They brought cakes from the shop, or colourful biscuits, made me hot chocolate and let me stay up late watching programmes with detectives in them. I thought for years they did that on purpose. Edward would go off with the police and I would watch some show where the detective always solves the case. It didn’t occur to me until much later it was simply what they watched on the television in the evening. The kind of thing that was on after I was usually in bed.

When Edward got home he would shake his head, and no one would say anything at all. Now he says he has regrets about all those times he went, and met other families, other husbands or wives or parents or grown-up children, all going to see if this was the something they were waiting for. He regrets letting them all go without talking to them, asking for their addresses, promising to keep in touch, keep asking, did you find her yet? Find him yet? Form a support group. Go on annual picnics. But he didn’t. Something stopped him looking them in the eye and asking, who are you here for? Something stopped them looking him in the eye and asking him the same.

When he came back I wanted him to bring me back their stories. The stories of why they were there, who they were looking for, who was missing from their lives. I wanted to know, how did they lose them? Did they go out shopping together and lose them in the car park? Did they go on holiday and lose them at the beach? Did they lose them at home, like us? Were they wearing their coats, or just jumpers? Did they take a bag of things? Did they have any money with them? Did they have anywhere else to go?

I collected stories of loss, abandonment, shame.

The Sunday Post14 May 2023: ‘Seamus Heaney award winner takes the classic text of the medieval poem Pearl as the root for this stunning debut’

Lucy Writers, 23 May 2023. Rym Kechacha talks with author Siân Hughes

IMAGE Magazine, 5 July 2023. Debut novelist Sian Hughes on writing her way through grief, confusion and motherhood

The Independent, 1 August 2023: Booker Prize 2023: Longlist announced with 10 first-time nominees and a new record for Irish authors

YahooNews, 1 August 2023: Debut novelists make Booker Prize 2023 longlist as star writers miss out

The Bookseller, 1 August 2023: Indie-heavy Booker longlist has record number of Irish writers for 2023

The Telegraph, 1 August 2023: Praise be! The Booker Prize is no longer a popularity contest

The Guardian, 1 August 2023: Irish writers, debuts – and groundbreaking sci-fi: the Booker longlist in depth

GlasgowTimes, 1 August 2023: 2023 Booker Prize longlist ‘defined by its freshness’ as nominees announced

National World. 2 August 2023: Booker Prize 2023 nominees: Sebastian Barry and Paul Murray among longlist – who else has been nominated?

Country & Town House, 2 August 2023: The ‘Fresh’ Booker Prize 2023 Longlist Has Landed

The Times. 2 August 2023: Booker Prize 2023: which 13 novels made this year’s longlist?

inews, 2 August 2023: The Booker Prize longlist has got it very wrong in the past – not this year

The Guardian, 2 August 2023: Booker list transports readers to Penang, Lagos and Ireland

Times Radio, 4 August 2023: Siân Hughes with Libby Purves at 01:06:00

The Booker Prize, 7 August 2023: Read the Booker Prize 2023 longlist: an extract from Pearl by Siân Hughes

The Times, 10 August 2023: Pearl by Siân Hughes review — the surprise Booker contender (and it’s actually good)

The TLS, 11 August 2023: Pearl by Siân Hughes review – Folk songs and dream poems

The Scotsman, 14 August 2023: The suicide of a loved one decades ago has stayed with Siân Hughes, inspiring her Booker-longlisted novel Pearl.

The Financial Times, 14 August 2023: Debut fiction: how the Booker nominees stack up

BBC Radio Merseyside, 22 August 2023: Interview with Siân Hughes (from 00:25)

The Guardian, 25 August 2023: Pearl by Siân Hughes review – a circling story of memory and loss

RUSSH Magazine, 1 September 2023: 10 new books to add to your stack this month

The Telegraph, 17 September 2023: A quietly beautiful novel, full of grief and English poetry

Could It Have Been Written By A Woman?

Susie Nicklin

Just over forty years ago, I was offered a place to read English Language and Literature at Oxford University. (Getting that out of the way in the first sentence, as per the cliché.) I did what was called ‘fourth-term entry’, ie I took the institution-specific exams in the first term of my final year of school. The previous summer I had passed A and S level French, so I was only studying for two A levels and one S level at the time. My Latin teacher lived a 30-minute train ride away and I only saw her once a week; my focus was mainly on English, which is just as well because I contracted glandular fever at the beginning of that term and spent most of it at home in bed. It was there that I discovered a susceptibility to reverie; in the spirit of the late Marion Milner, it was a time with no boundaries, hovering in and out of the corporeal world. My parents both worked and my sisters were both at school, so as weeks stretched into months I learned about solitude and interiority, my erratic temperature creating visions and imaginary companions. Just down the road was the cottage in which Blake swore that Milton entered his left foot; why shouldn’t I experience the ecstatic, too?

I wouldn’t say that I developed an inward eye, and it wasn’t bliss – I was unwell, and a doctor came by regularly to give me painful penicillin injections (the conclusive diagnosis, which confirmed these as unnecessary, didn’t come until after they’d stopped). My fellow students were presumably out carrying on doing all the things which had caused my illness; at an assembly after my return the headmistress of my all-girls school (a comprehensive yoking the former grammar and secondary modern schools under one roof, literally, with ‘upper band’ and ‘lower band’ divisions) said nastily ‘There has been a lot of glandular fever around recently. You catch this through kissing. Susie Nicklin has glandular fever’, which ensured my return to scholastic endeavours was brief. In those days you only needed two Es at A level to be accepted to Oxbridge if you passed their own exams, so despite pages of flummery my letter of acceptance had specified I needed one E to get in, and not even my inability to conjugate Latin verbs rendered that unlikely.

By the age of 18 my accomplishments were limited. I could speak fluent French with a broad accent du midi and a fine ear for the demotic as well as alexandrines.

(I spent a summer in France just after my fifteenth birthday, working at a one-star hotel in Palavas Les Flots in the Gard, a departement I have loved ever since. I worked thirteen-hour days, seven days a week and they didn’t pay me because ‘that would be illegal, you are underage’. On Saturday nights we went dancing and got back at 0600 on Sunday mornings; four espressos later we started work again. On my first morning I asked a colleague if she’d ever visited England and she grinned, ‘Oh yes, that is where I get my abortions’. I agitated for a day off a week, which was eventually granted – well, they could hardly dock my pay – and then got grumbled at when others followed suit. The pocket money I had saved from up a Sunday job in a newsagent in Midhurst got stolen from my room, which I shared with four others, including the snoring grandmother of the hotel’s owner. I developed chilblains and varicose veins and a serious swearing habit picked up from the kitchen porters. It was glorious.)

I could understand quite a lot of Latin – I sang with youth choirs and the mass made sense, at least – and I had read a stupid quantity of books. During that French summer I got through most of Camus and even Racine. (Writing this I realise I must have been the most pretentious person in Bognor Regis. For a summer job after I left school I worked in the accounts department of Butlin’s tallying up sales of burgers at their sites around the UK, and read Russian novels on my breaks.) That was about the limit of my talents. I couldn’t ride horses, or swim, or play tennis, or sail, or ski, or drive, or sew or knit or paint, or even dance well. I played the flute and the piano to grade V but my hand to eye co-ordination was too poor to make progress. The only touch of glamour in my life came through my work as an usherette at Chichester Festival Theatre, where I met Laurence Olivier and presented a huge bouquet to Grace Kelly (in trials mine was the best curtsey).

When I started at Oxford I thought I’d be among peers (which, it transpired, I was, but only in the literal sense, as my tutorial partner was a punk and also an Eton-educated one-day-to-become-Viscount.) I’d already read some of the Victorian novels we would be studying in the first year and had packed everything on the list of required items (including a tea towel over whose design I’d agonised for days). After a sedate, sherry-fuelled freshers’ week – a far cry from today’s bacchanalia – I finally had my first tutorial.

Following some general chat my tutor said briskly:

‘Here’s the essay title for this week and the criticism you’ll need to research.  See you next Thursday’ and I was perplexed. He said patiently,

‘As I explained, this week is Dickens. Next is Hardy, then Austen, Eliot, the Brontes etc.’

‘Which Dickens?’

‘All of them. And then all of Hardy. Eliot. Etc.’

I still remember the visceral sense of shock.

‘I’ve read two’ I ventured – ‘Our Mutual Friend and Bleak House.

A hard stare.

‘You were sent the reading list in December.’

My sense of injustice was stronger than my nerves.

‘It just said reading list! It didn’t say they had to be read before we got here! I assumed that these were the books we would be reading! I remembered the tea towel!’.

He shrugged. The heir apparent smothered a snigger.

‘Well, you may have spent the summer inter-railing’ (all those bloody burgers! What price Dostoevsky & Tolstoy?) ‘but between now and next Thursday you will have read every novel by Dickens plus the necessary criticism. John Carey’s lectures are rather fine.’

And so began my second successive autumn term spent in bed, trying to keep warm, desperately hoovering up millions of words in shoddy second hand paperback editions from Blackwell’s, just across the road from my tiny, shabby room. Eight weeks in which I became disorientated, exhausted, almost hallucinating from inhaling so many plots, characters and locations. I worked in a local pub over the Christmas holidays and the whole Oxford thing felt like another feverish dream.

When I got back I realised that I hadn’t considered what I should have prepared. But it turned out that this didn’t matter because we were studying something totally different. We were entering the Anglo-Saxon and medieval worlds, full of allegory, legend, poetry, violence, ritual, rhythm. Finally, I was on a level playing field. No one had read any of this stuff before; you had to say the words aloud to make any sense of them and then it was a glorious riot of alliteration, bouncing rhymes, repetition, humour. A green knight! A green chapel! Camelot! Beowulf! I was totally enchanted. No more cramming under a cheap duvet; you had to study this stuff with the delightful Bernard O’Donoghue, a great scholar and poet. It made sense from the start; even if I couldn’t understand it all I found it exhilarating.

One poem in particular was unforgettable. The incantatory, transcendental, late 14th century Pearl, presumed to be by the author of Gawain and the Green Knight, in which the writer mourns the loss of a daughter who reappears in a vision. We argued it must have been written by a woman – so much attention to detail, so moving. I recommend the 2011 translation by Jane Draycott, with an introduction by the same Bernard O’Donoghue, published by Carcanet.

Perle, plesaunte to prynces paye

To clanly clos in golde so clere,

Oute of Oryent, I hardyly saye,

Ne proved I never her precios pere.

So rounde, so reken in uche araye,

So smal, so smothe her sydes were,

Queresoever I jugged gemmes gaye

I sette hyr sengeley in synglure.

Allas, I leste hyr in on erbere;

Thurgh gresse to grounde hit fro me yot.

I dewyne, fordolked of luf-daungere

Of that pryvy perle withouten spot.

So when Peter Buckman sent me a manuscript entitled Pearl, by Siân Hughes, I was enchanted. Hughes’ writing is flawless, like the privy pearl without a spot; I hardly changed a word. She captures the spirit of the original and shows us consolation through legend, nursery rhymes, folk songs, as a daughter seeks to understand the reasons for the disappearance of her mother. I couldn’t be more proud to publish it at The Indigo Press, with an endorsement from Bernard, and we celebrated in Siân’s bookshop in Cheshire, just down the road from the green chapel itself.

And a footnote: just over a decade ago I led a global programme for the British Council, 264 projects in 62 countries over three months, celebrating the 200th birthday of Charles Dickens, and before the key UK event I nonchalantly briefed our CEO over cocktails prior to a big speech he had to give on the novels. All of ‘em.

Audiobook by W.F. Howes

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