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Excerpt ​

Excerpt from The Story of the Amulet, by E. Nesbit

“The children did see the Psammead again, but it was not in the
sandpit; it was—but I must say no more—”

The reason that nothing more could be said was that I had not then been
able to find out exactly when and where the children met the Psammead
again. Of course I knew they would meet it, because it was a beast of
its word, and when it said a thing would happen, that thing happened
without fail. How different from the people who tell us about what
weather it is going to be on Thursday next, in London, the South Coast,
and Channel!

The summer holidays during which the Psammead had been found and the
wishes given had been wonderful holidays in the country, and the
children had the highest hopes of just such another holiday for the
next summer. The winter holidays were beguiled by the wonderful
happenings of The Phœnix and the Carpet, and the loss of these two
treasures would have left the children in despair, but for the splendid
hope of their next holiday in the country. The world, they felt, and
indeed had some reason to feel, was full of wonderful things—and they
were really the sort of people that wonderful things happen to. So they
looked forward to the summer holiday; but when it came everything was
different, and very, very horrid. Father had to go out to Manchuria to
telegraph news about the war to the tiresome paper he wrote for—the
Daily Bellower, or something like that, was its name. And Mother,
poor dear Mother, was away in Madeira, because she had been very ill.
And The Lamb—I mean the baby—was with her. And Aunt Emma, who was
Mother’s sister, had suddenly married Uncle Reginald, who was Father’s
brother, and they had gone to China, which is much too far off for you
to expect to be asked to spend the holidays in, however fond your aunt
and uncle may be of you. So the children were left in the care of old
Nurse, who lived in Fitzroy Street, near the British Museum, and though
she was always very kind to them, and indeed spoiled them far more than
would be good for the most grown-up of us, the four children felt
perfectly wretched, and when the cab had driven off with Father and all
his boxes and guns and the sheepskin, with blankets and the aluminium
mess-kit inside it, the stoutest heart quailed, and the girls broke
down altogether, and sobbed in each other’s arms, while the boys each
looked out of one of the long gloomy windows of the parlour, and tried
to pretend that no boy would be such a muff as to cry.

Explanation ​

Detailed Explanation of the Excerpt from The Story of the Amulet by E. Nesbit ​

Context of the Source ​

The Story of the Amulet (1906) is the third and final book in E. Nesbit’s Psammead Trilogy, following Five Children and It (1902) and The Phoenix and the Carpet (1904). The series follows the adventures of four siblings—Cyril, Anthea, Robert, and Jane—who encounter magical creatures that grant wishes, leading to both wondrous and chaotic consequences. Nesbit, a key figure in children’s literature, blends fantasy with everyday realism, often exploring themes of power, responsibility, and the unpredictability of magic.

This excerpt opens The Story of the Amulet, setting the stage for a new adventure while reflecting on past events. The children, having previously encountered the Psammead (a sand-fairy) and the Phoenix, are now facing a bleak summer in London, far removed from their past magical escapades.

Themes in the Excerpt ​

  1. Disappointment and Lost Hope

    • The children had expected another idyllic summer in the countryside, filled with magic and adventure (as in Five Children and It). Instead, their plans are shattered by adult circumstances: their father is sent to cover the Russo-Japanese War (1904–05) in Manchuria, their mother is ill in Madeira, and their aunt and uncle have moved to China.
    • The contrast between their past "wonderful holidays" and their current "very, very horrid" situation underscores the fragility of childhood joy when disrupted by adult realities.

  2. The Unpredictability of Life vs. the Certainty of Magic

    • The narrator humorously contrasts the Psammead’s reliability ("when it said a thing would happen, that thing happened without fail") with the unreliability of human predictions (like weather forecasts). This reinforces a central theme in Nesbit’s work: magic operates by its own rules, while human life is messy and unpredictable.
    • The children’s faith in the Psammead’s return ("they would meet it") suggests that magic, unlike their current circumstances, is something they can depend on.

  3. Childhood Resilience and Imagination

    • Despite their misery, the children cling to the belief that "the world... was full of wonderful things—and they were really the sort of people that wonderful things happen to." This reflects Nesbit’s recurring idea that children, more than adults, are open to magic and adventure.
    • Their grief (the girls sobbing, the boys suppressing tears) is raw and relatable, but the narrator’s tone implies that their sadness is temporary—adventure (and the Psammead) will soon intervene.

  4. The Absence of Parental Figures

    • The children are left with "old Nurse," a kind but indulgent caretaker, emphasizing their isolation. The absence of parents—a common trope in children’s literature (e.g., Peter Pan, The Chronicles of Narnia)—creates space for the children to take agency in their own story.
    • The mention of their father’s departure ("the cab had driven off with Father and all his boxes and guns") is particularly poignant, symbolizing the loss of stability and the shift into an uncertain, adult-free world.

Literary Devices ​

  1. Narratorial Voice and Direct Address

    • Nesbit’s narrator is intrusive and conversational, breaking the fourth wall to address the reader directly ("I must say no more," "which is much too far off for you to expect to be asked"). This creates intimacy and humor, making the story feel like a shared secret.
    • The narrator’s asides (e.g., mocking weather forecasters, calling the newspaper the Daily Bellower) add a playful, almost sarcastic tone, lightening the otherwise melancholic scene.

  2. Juxtaposition

    • The excerpt contrasts:
      • Past vs. Present: The "wonderful holidays in the country" vs. the "gloomy" London parlour.
      • Magic vs. Reality: The Psammead’s reliability vs. the unpredictability of human plans.
      • Childhood Wonder vs. Adult Burdens: The children’s belief in magic vs. their parents’ absence due to war and illness.

  3. Symbolism

    • The Psammead: Represents hope and the return of magic. Its inevitable reappearance ("they did see the Psammead again") is a promise that wonder will re-enter their lives.
    • The "gloomy windows": Symbolize the children’s trapped, sorrowful state, looking out at a world that has let them down.
    • Father’s Departure: His "boxes and guns" and "aluminium mess-kit" evoke war and adult responsibilities, starkly contrasting with the children’s magical past.

  4. Irony

    • The children are "the sort of people that wonderful things happen to," yet their current situation is utterly unwonderful. This irony sets up the expectation that their luck will change—likely through the Psammead’s return.

  5. Hyperbole and Understatement

    • Hyperbole: "The world... was full of wonderful things" (an exaggerated claim that reflects the children’s optimistic worldview).
    • Understatement: "everything was different, and very, very horrid" (a dry, childlike way of expressing profound disappointment).

Significance of the Excerpt ​

  1. Setting Up the Adventure

    • The excerpt serves as a bridge between the previous books and The Story of the Amulet. By reminding readers of past magic (the Psammead, the Phoenix) while plunging the children into misery, Nesbit creates tension: How will they escape this gloom? The answer, of course, is through another magical quest.

  2. Reflecting Edwardian-Era Realities

    • The children’s predicament mirrors real societal issues of the time:
      • Imperialism and War: Father’s trip to Manchuria reflects Britain’s global engagements (the Russo-Japanese War was widely reported in British newspapers).
      • Illness and Travel: Mother’s convalescence in Madeira (a common destination for tuberculosis patients) highlights the era’s limited medical options.
      • Changing Family Structures: Aunt Emma’s sudden marriage and move to China reflect the mobility and instability of Edwardian middle-class life.

  3. Childhood as a Space for Magic

    • Nesbit reinforces the idea that children’s lives are distinct from adults’—full of possibility, even in hardship. The Psammead’s return is framed as inevitable because children, unlike adults, deserve magic.

  4. Tone and Emotional Resonance

    • The passage balances humor and pathos. The narrator’s wit ("the Daily Bellower") prevents the scene from becoming overly sentimental, while the children’s grief feels genuine. This tone is characteristic of Nesbit’s work, which often blends whimsy with melancholy.

Line-by-Line Analysis of Key Moments ​

  1. "The children did see the Psammead again, but it was not in the sandpit; it was—but I must say no more—"

    • The narrator teases the reader, creating suspense. The dash suggests an unfinished thought, mimicking oral storytelling. The Psammead’s return is certain, but the how and where are mysteries.

  2. "Of course I knew they would meet it, because it was a beast of its word..."

    • The Psammead is portrayed as more reliable than humans (e.g., weather forecasters), reinforcing the theme that magic is more trustworthy than the adult world.

  3. "The summer holidays... had been wonderful holidays in the country..."

    • Nostalgia for the past contrasts with the present. The word "wonderful" is repeated, emphasizing how extraordinary their previous adventures were.

  4. "The world... was full of wonderful things—and they were really the sort of people that wonderful things happen to."

    • This line captures the children’s self-perception: they see themselves as chosen for adventure, a belief that will drive them to seek the Psammead again.

  5. "Father had to go out to Manchuria to telegraph news about the war..."

    • The mention of war introduces a darker, real-world element, grounding the fantasy in historical context. Father’s absence is not just inconvenient—it’s tied to global conflict.

  6. "the stoutest heart quailed, and the girls broke down altogether..."

    • The boys’ attempt to hide their emotions ("no boy would be such a muff as to cry") reflects gender norms of the time, while the girls’ open weeping humanizes their distress.

  7. "the long gloomy windows of the parlour"

    • The setting is oppressive, reinforcing their emotional state. The "gloomy windows" suggest they are trapped, both physically and emotionally.

Conclusion: Why This Excerpt Matters ​

This opening sets the stage for The Story of the Amulet by:

  • Establishing stakes: The children’s misery makes their eventual adventure more satisfying.
  • Reaffirming magic’s role: Even in hardship, the Psammead’s return is inevitable, suggesting that wonder persists despite life’s chaos.
  • Blending realism and fantasy: Nesbit grounds her story in real-world issues (war, illness, family separation) while keeping the door open for escapism.

The excerpt is a masterclass in juxtaposing despair and hope, a hallmark of Nesbit’s work. It reminds readers that childhood—though fragile—is also a time of resilience, where magic can re-enter even the gloomiest of circumstances.