45 pages 1 hour read

A Kestrel For A Knave

Fiction | Novel | YA | Published in 1968

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Themes

Content Warning: This section of the guide features discussion of child abuse, bullying, substance use, gender discrimination, sexual content, and animal cruelty and/or death.

The Difficulty of Escaping Class Oppression

Class oppression is a significant factor in A Kestrel for a Knave. Before the book opens, an epigraph from The Book of Saint Albans—a 15th-century manuscript, lists birds and the social classes that they correspond to, with the lowest being “a kestrel for a knave.” In the 15th century, when The Book of Saint Albans was written, a knave was a male servant or peasant. Later, the word came to refer to an untrustworthy or dishonest person, regardless of class. This shift in meaning hints at the class prejudices that hinder Billy’s prospects, as his working-class status leads others to view him as untrustworthy. Billy’s unnamed hometown exists for the sole purpose of supporting the mining operation. The young men are referred to as “pit fodder” and broadly expected to leave school at 15 to take up mining work. Billy is repeatedly told throughout the book that he will be heading down the mines in a few short weeks, a fate he rejects. However, when he is asked what else he would do, he can’t think of anything. Due to his class position, prospects beyond working in the pits aren’t available or even visible to him, and there are few people willing to show him new possibilities. In the novel’s early pages, Mr. Porter’s disparaging attitude toward Billy makes clear that stereotypes of untrustworthiness make it difficult for boys from Billy’s class to find employment, leaving the mine as the only option available to many of them.


Every environment Billy enters reinforces the inevitability of this fate, including his education. The school is shown to be an oppressive and miserable place overseen by disinterested teachers who actively resent their students. Principal Gryce rants at Billy and several other boys when he brings them to his office, where he explicitly tells them that they have no prospects or future, framing them as useless: “They took it then, but not now, not in this day of the common man, when every boy quotes his rights, and shoots off home for his father as soon as I look at him…No backbone…you’ve nothing to commend you whatsoever. You’re just fodder for the mass media!” (61). Principal Gryce’s attitude reflects that of nearly every adult in Billy’s life: He has no interest in the boys’ needs or individuality and cares only that they obey and do what is expected of them without complaint. This widespread class prejudice restricts the children’s opportunities and prevents them from realizing their innate potential. Mr. Farthing, the English teacher, is an exception. He tries to nurture Billy’s potential and shows a unique care for the students, but he’s presented as a broadly ineffectual force against an overwhelming tide of factors otherwise restricting the children.


The class oppression that begins with oppressive institutions is felt at home, where family members are often similarly disillusioned, overwhelmed, and—unlike the children—old enough to be set in their ways. Jud, Billy’s older brother, is a snapshot of Billy’s potential future. He works in the mines, rising early every day to work. He is an aggressive, brutish, and emotionally stunted person frustrated with his life. The only solace he can find is in drinking himself to the point of blackout every Saturday night. He is a habitual gambler, with the potential for quick money being one of the only sources hope in his life. When Billy fails to place a bet for Jud on horses that later win, Jud flies into a rage, seeking Billy out at school for retribution before later killing Kes.


After losing the only escape from his grim reality, Billy flees the house. He briefly imagines a heroic version of himself with Kes on his arm in front of a cheering crowd, but when this dream passes, he returns home to his restrictive life and buries his bird, implicitly alongside his hopes. He gets back into the same bed he began the novel in, thus turning the narrative into an allegory for the inescapable nature of poverty and working-class life. Billy begins and ends the book in the same bed as Jud, symbolizing they inevitable fate he shares with his older brother.

The Dangers of Equating Vulnerability With Weakness

Billy’s world is defined by a toxic and exploitative conception of masculinity in which vulnerability and emotional sensitivity are seen as forms of weakness. Men are expected to work stoically, and any deviation from that expectation is strictly punished with violence or ridicule. Few seem to notice that this ideal of masculinity serves the interests of capital, as those who own the means of production—in this case, the mine—want nothing more than stoic, uncomplaining workers. Jud, Billy’s older brother, is the starkest depiction of this attitude in the novel. He is a brutal bully who is quick to physically strike Billy. He works in the pits, the archetypal job for men in the community, and mocks Billy by reminding him that the younger boy is expected to share the same fate. When he discovers that Billy has stolen a book on falconry, Jud expresses confusion, not seeing a point in learning about anything unrelated to earning money or asserting dominance. He takes advantage of Billy’s vulnerabilities to hurt him, using Billy’s love of Kes to punish him for not placing a bet. Billy receives no support from his mother, whose coldness reinforces the idea that the only way for him to express feelings or get what he wants as a man is to be angry or mean.


School is another site of vulnerability for Billy. Constantly exhausted from Jud waking him up early and from his newspaper round, he struggles to stay awake in class. The teachers, all male, treat him with open contempt, and Headmaster Gryce goes as far as to beat him with a cane. Physical education teacher Mr. Sugden takes to the field to play against boys while wearing full, pristine Manchester United colors. He plays aggressively and is willing to cheat to ensure his personal victory. When Billy throws the match at the end so he can go home to feed Kes, Mr. Sugden is enraged. He strikes Billy and tortures him in a cold shower. Mr. Sugden’s competitiveness and brutality epitomize the toxic masculinity that dominates this community. Billy’s physical vulnerability and lack of interest in football make him a target, and Mr. Sugden forces other boys to participate in his bullying to reinforce the idea that this is how men should treat each other. When the other boys begin to empathize with Billy, Mr. Sugden rebukes them and continues cruelly punishing Billy.


Mr. Farthing is one of the few figures in the book who offers a different vision of masculinity, protecting rather than abusing the vulnerable. When Billy and his former friend MacDowell get into a fight in the coal sheds, Mr. Farthing intervenes. He corners MacDowell and accuses him of being a bully and a coward. When the boy threatens to fetch his father, Mr. Farthing mocks him by saying he’ll fetch his. His goal isn’t to be cruel, but rather to demonstrate that MacDowell shouldn’t use his feelings of hurt and emotional vulnerability as an excuse to lash out at Billy. Mr. Farthing then talks kindly to Billy and later visits him to watch him feed Kes, speaking to him with respect, patience, and interest. This alternative model for masculinity validates Billy’s nurturing instincts toward animals, encouraging Billy to embody a different form of maturity than the one he’s been taught. Unfortunately, in the novel’s end, he is forced to resort to violence and aggression after Jud kills Kes, and Billy realizes that his family simply won’t allow him to engage with them on this level of empathy and understanding.

Nature as an Escape

The unnamed Yorkshire town in which Billy lives is surrounded by countryside. Billy frequently escapes the pressures of his life by exploring this rural landscape. Nature is described through meticulous and descriptive language that many critics compare to the language of Seamus Heaney’s 1966 poem, “Death of a Naturalist,” a poem about a young boy’s interactions with nature and how one bad experience makes him leave it behind. In A Kestrel for a Knave, the peace and beauty of nature contrasts with the ever-present specter of the mine, a juxtaposition that evokes the clash between agrarianism and industrialization. Hines employs contrasting styles when describing the countryside and the town, with each environment shaping the very way that Billy interacts with the world. Billy has a deep affinity for nature. When he encounters animals in the woods, he treats them with great gentleness. Even before he meets Kes, Billy cared for numerous animals; he admits to Mr. Farthing that he’s cared for fox cubs, magpies, and many other small creatures, often releasing them into the wild when they were ready. When Billy is around animals, he feels more like himself and can express the nurturing, sensitive instincts that his society rejects.


The pit represents Billy’s greatest fear for his life—shut down underneath the earth, far from nature. Though he is expected to work in mining, he refuses to accept this fate. Still, his sense of otherness extends beyond his future career prospects; he feels strongly out of place no matter where he is, a sensation created primarily by notions of masculinity and oppressive class structures. Billy’s ideal life, as far as he can imagine it, is to work with falcons, caring for them and training them. This is a life that not only engages with nature, but also breaks away from the path set before him. Every aspect of his life—home, work, school—reinforces the expectation that he accept a job in the mine and set aside his curiosity about the wider world. His time with Kes is his only escape from this expectation.


The only characters who encourage this escape to nature are the farmer Billy meets when first discovering the kestrels and Mr. Farthing, his teacher. Each notices the dedication, inquisitiveness, and passion Billy displays in working with animals. In these moments, Billy reveals a new side of himself, a side accessible only in his interactions with nature. Nature acts not just as an escape from the pressures of life, but as a means of self-discovery. When Kes is killed, so is Billy’s means of escape from his life in the pit. He runs away, but rather than going into nature, he breaks into an abandoned building at the edge of town. He stays here until he accepts that Kes is gone and then returns to the bed he woke up in at the start of the novel, implying that he has put his dreams to rest.

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