Lovely and sad, the story behind "Peter Pan and the Lost boys" | J.M. Barrie and the Lost Boys: The real...

Sheds a new light on Peter Pan | J.M. Barrie and the Lost Boys: The real story behind Peter Pan | Andrew Birkin

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	• J.M. Barrie and the Lost Boys: The real story behind Peter Pan Andrew Birkin Yale University Press, 2003 - 344 pages average customer review:based on 20 reviews view larger image
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highly recommended

Tragic and Beautiful

Prompted by the movie "Finding Neverland" I wanted to learn more about the Davies family and their relationship with Barrie. My research lead me to this book. The tragic story of the boys and Barrie was an eye opening read. Birkin is an artful weaver of ancedotes, interviews and history. While I was reading the book I got lost.I started feeling like I was an intimate friend of the families, instead of curious observer. Furthermore, Birkin's website has been updated with more pictures and media files. The website coupled with the book really saturates you into the life of the 5 boys and the mindof the man who loved them very much. A beautiful account of a flawed and tragic life.

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Lovely and sad, the story behind "Peter Pan and the Lost boys"

Having found this little book before the advent of the film "Finding Neverland" I was able to read it originally without comparing it to the film, always a good thing. The film, of course, changed much of the true story as films usually do. This book standing alone as far better, but note, it is not a happy story with a happy ending, it is a tragedy, and no one is left unscathed.
The photographs, almost all, were taken by Barrie himself, and are absolutely wonderful. He had a natural artistic sense, and his unposed photos of the five Llewelyn Davies boys, Michael, George, Peter, Jack, and Nico at their play, stay with you. They are dressed in the Edwardian clothes of the time, or in costumes they wore in the elaborate make-believe games they played with their childlike grownup friend Mr Barrie, and those are truly memorable in themselves. Often they are playing with J.M. Barrie's large dog, and one can't help but think of the big dog, Nanna, in Peter Pan, it's acutally quite eerie, seeing that the play "Peter Pan" itself wouldn't be written yet for years.
J.M. Barrie came from a lower class Scottish family, and in childhood lost an older brother to illness. His mother took to her bed griefstricken, for a long period, and once, trying to cheer her, young Barrie put on the older brother's clothes and went to see his mother. For just a moment she thought it was the older brother, and he seemed to see happiness in her eyes; for all his life, the message stayed with him, the boy who would never grow up was the loved boy.
He was a strange, brilliant, gentle, childlike man. Highly regarded in his own time, considered a great playwright, equivilent to George Barnard Shaw in his day; and very prosperous due to his books and plays, married, but childless, and probably not very happy in his marriage which would end in divorce, one day in Kensington Park he saw one of the five young Llewelyn Davies brothers. They struck up a friendship, based on Barrie being quite willing to talk to a child on the child's level. Soon after, he met the rest of the family, who were impressed to meet the famous playwright. Their family was also upper class, well to do, but would soon lose their father to cancer, they would thenceforth be in precarious financial straits. Barrie immediately became a combination father/ big brother to the boys. He also became close friends with their mother Sylvia Llewelyn Davies, but not, I suspect, to the degree the movie implies. It was all about the boys, their innocence, and something he wished to capture and hold on to. His obsessive photography of them makes that clear.
Tragedy struck again, unbelievably, when their mother died of cancer as well, at a young age, after a relatively brief illness. By then Barrie was such a part of their lives that his continued influence, and the benefit of his money in seeing to it that all five boys finished school in the manner befitting their "class", was accepted by the boys' extended family. He stayed involved in all their lives indefinitely, though it is interesting that he had his favorites, and the two who were not favorites resented and disliked him as they grew older.
The book stops with the boys' growing up, though he did stay involved with them as a surrogate parent. Tragedy did hound the family, but unlike some reviewers I am not sure that it can be blamed on JM Barrie's role in their lives. In fact, without him, financially they would have far worse off.
It is true the boy named Peter resented that the play was named "Peter Pan", and of course he was teased at school, and Barrie probably should have thought of that. (Of course without Barrie he most likely wouldn't have been at Eton to be teased.)
Two footnotes: all the proceeds of the play went to the Children's Hospital in London for 100 years, until recently with the 100 years anniversary, the copyright ran out, and now it is in the public domain. No proceeds of his biggest success ever went to Barrie.
Also, the girl's name: "Wendy", was first used in the play. It was an unknown name before that. Barrie used it in memory of a young daughter of a friend who was named Wendy, and who died at age 5. (Not known where that family got the name from, or if it was a nickname.) It was not a name known previously and "Peter Pan" popularized it.
Its an excellent book, an opening via the photographs into another long-gone time, a sad story, but not I believe, due to Barrie. I believe he meant well, and tried his best to be a friend to that unfortunate family. He had his demons as do we all, but to "love" children, in that era, to befriend them, and even play with them when they were pre-teens, could still occur without any implication of perversity; and even to sleep with a child, the concern of one reviewer, was, at the end of the Victorian world, seen as a pure and innocent act, like a parent and child might sleep together...I think it is hard for us in our cynical age to see things as the late Victorians/Edwardians did. No whisper of scandal or of anything improper ever came from any of the five boys, their family, servants, or anyone else connected with them; and I think had there been it certainly would have come to light. I believe he truly loved the boys, and they in turn, after he knew them several years, and had observed their play and their natural talk and style, influenced him to write his masterpiece "Peter Pan".

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Sheds a new light on Peter Pan

I found this book to be a well-researched and moving account of not only Barrie's life but also the lives and deaths of the original "Lost Boys". After reading this book, I read Peter Pan again in a whole new light and enjoyed it even more. I think reading this book is essential in order to fully appreciate the entire Peter Pan experience as it truly helps to bring the characters alive.

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J.M.Barries and the Lost Boys: the real story behind Peter Pan

This is one of the bases for the movie "Wonderland" but reading this book will creep you out on J.M.Barrie. You might never really like Peter Pan again. Author had access to his papers, letter, diaries etc. Very weird stuff.

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Tragic loss of dear illusions . . .

I read this book over 15 years ago in an attempt to find out who the author of Peter Pan really was, and what his life was like. It was not a pleasant or easy read. I wanted to forget all about it and just have the enchantment of "Peter Pan," but as with the real life of the author and photographer of "Alice in Wonderland," the truth can wound deeply. But lies and half-truths can never reveal the relationship between biography and art, so one must often face much disturbing information in order to understand the art itself. This is not to say that art is reducible to biography; it is not. There is, nevertheless, a kind of dialectic (God, I do hate to sound so gawdawful jargony, but when it so plain, other words just do not work) between the life of a genius and the art of the same individual. The truth of art can only come from the struggle between an artist's vision and the life that made such a vision a necessity. Yes, a necessity: there are those artists whose lives were so fraught with sheer catastrophe that revelation through a skewed fantasy can be so powerful as to take on a "life" of its own. And this is why it is so grievous to "paint-over" the unpleasant details of such a life. There was a recent film with an appropriately disturbing title: in the attempt to not really "find" Neverland in Barrie's life, the art itself is drained of its truly tragic roots. At the time such "nice" little fantasies are presented, they seem so harmless, but they are not. Successful attempts to eradicate truth can also eradicate the depth of the art itself. "Neverland" is a word that begs a little attention: a land where children "never grow up." This is not to say that they physically die - no - instead they live their lives, as did Barrie, in a desolate, lifeless, and desperately lonely "land" and try, from within their internal isolation, to bring others along for the rides to nowhere and "never." Where else could such a person bring another? If one lives in "Neverland" of the mind, there is nowhere else to lead another - nowhere else to go. And if we do not face unpleasant truths as they are revealed in the crucible where life and art meet, we learn nothing further from the art. It is better, actually, to know nothing of an artist's life than to be fed untruths. I would suggest the readers either read this book and/or see Peter Pan, but would urge them *not* to see Peter Pan after experiencing a false represenation - no matter how "well-performed" the falsehood is presented. The play or story would be meaningless. The truths, whatever you choose to make of them are here in this book, like it or not. And once the genie is out of the bottle (such as when you have been fed a disingenuous Hollywood film or other disingenuous account), to refrain from the truths of an artist's life is a violation of the art. No one can any longer understand or be truly moved by Peter Pan, much less try to interpret it based upon a sugar-coated Hollywood paint-job. And the effect goes on: if other artists were inspired by Barrie's work (perhaps because it touched the nerves of their own catastrophic lives), and all we have is a candy-coated film, their art and whatever in their lives might have inpired their interest in Barrie's work is also distorted. I do not know if truth sets anyone "free," but I do know that untruths distort and harm. And then the distortion goes on . . . This book cuts deep, but struggles for truths, which is what a biography of an artistic genius should try very hard to do.

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J. M. Barrie, novelist, playwright, and author of Peter Pan or The Boy Who Wouldn?t Grow Up, led a life almost as magical and interesting as his famous creation. Childless in his marriage, Barrie grew close to the five young boys of the Llewelyn Davies family, ultimately becoming their guardian and devoted surrogate father when they were orphaned. Andrew Birkin draws extensively on a vast range of material by and about Barrie, including notebooks, memoirs, and hours of recorded interviews with the Llewelyn Davies family and their circle, to describe Barrie?s life and the wonderful world he created for the boys. Originally published in 1979, this enchanting and richly illustrated account is reissued with a new preface to mark the release of Neverland, the film of Barrie?s life, and the upcoming centenary of Peter Pan.

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reviews: page 1, 2, 3, 4

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