61 pages • 2 hours read
Ariel LawhonA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Martha delivers a stillborn child on New Year’s Day. The mother gives birth out of wedlock, leaves the child unnamed, and entrusts Martha to take care of the burial. Martha and Ephraim bury the baby, whom they secretly name Nathan, beneath a tree (the only place where the ground is not too frozen to dig a grave). Carrying out the burial stirs up Martha’s sadness over the loss of her own three daughters many years prior. Reviewing her journal, she remembers the four stillborn deliveries from the year, one of which was overseen by Dr. Page.
She also takes note of the illegitimate children born in the year, before turning to entries from the summer that commemorate the deaths of her own daughters, Martha, Triphene, and Dorothy, 20 years prior. The family registry has been updated to include all nine Ballard children, as well as their dates of birth and death. The pain of her daughters’ passing still feels fresh for Martha, and she resolves to cherish her time with her remaining children.
On a Sunday morning in January, Ellen Parker arrives at the mill and asks Martha to borrow a horse. Ellen does not want her husband to know that she is going to see Doctor, a Black woman who comes to town every so often and practices medicine covertly. Martha believes Doctor to be a better doctor than herself and agrees to lend Ellen a horse without letting her husband know. In her journal, Martha makes note of Doctor’s return.
Martha rides to Burnt Hill, where Doctor provides medical treatment for local women in a remote cabin. She sees a Wabanaki family leaving the cabin before entering herself. Doctor beckons Martha in and explains that the Wabanaki mother has not been producing enough milk to breastfeed her baby. Martha asks Doctor for advice regarding Rebecca Foster’s use of savine. Doctor confirms that the herb is used for abortive purposes, and can be deadly to the mother, but assures Martha that if Rebecca has not yet experienced adverse effects from the herb, she will not in the future. After telling Martha not to worry too much, she says she is expecting her next patient—Sam and May Dawin. Martha doesn’t ask questions, but notes that Sam looks very displeased to see her.
Martha and Ephraim are flirting in the mill when Barnabas Lambard arrives to see them. Barnabas formally meets Ephraim and informs the couple that an official inquiry has been opened into the cause of Burgess’s death. He also indicates his interest in courting Dolly. Ephraim is disgruntled by this development, but Martha encourages Barnabas and Dolly to spend chaperoned time together.
Martha brings her freshly-made candles and her copy of Emmeline to Coleman, hoping to trade them for other goods in the store. Coleman mentions that he needs a shop boy to help keep the store’s ledgers and offers to trade Martha’s book for another one. He also reveals that Mr. Sewell has deposited some money into her store account in return for saving his wife’s life during labor.
Martha goes to the tavern and finds Cyrus there, reviewing the mill’s recent lumber orders. Sarah White arrives and asks to sit with them, before offering money to Martha to repay some debts—when Sarah was found guilty of fornication and forced to pay a court fee, Martha stepped in and covered the cost. Cyrus writes Sarah a note calling her a “good woman.” Martha notices that Cyrus has a crush on Sarah, but that such flirtation is made impossible by Cyrus’s inability to speak and Sarah’s inability to read. Martha shares a plan she has to set Cyrus and Sarah up, solving each of their difficulties in finding a spouse. First, she plans to help Sarah learn to read and get the job as Coleman’s store assistant. Ephraim warns Martha not to meddle.
At Dawin’s Wharf, Martha brings the newly-married couple a quilt as a wedding gift. At first, Sam seems unhappy to see Martha, assuming that she is going to pry about why they were visiting Doctor. When he realizes that this assumption was wrong, he invites Martha in, and she quickly realizes that May is pregnant. The baby was conceived out of wedlock, and both May and Sam begin to cry in shame. Martha tries to provide comfort by informing them that “four in ten” of the babies born in town every year are conceived before their parents’ marriage (192).
Martha and Ephraim host a dance in the mill. They are surprised to learn that Barnabas plays the fiddle, and he provides music for many of the dances. He takes a break from playing to ask Dolly to dance. The Ballards reflect on how none of their sons seem intent on marrying, even though Jonathan has danced several dances with Sally Pierce. Cyrus is the only son who wants a family, but no girl will dance with him because of his disability. Martha is therefore dismayed to find that Sarah White has decided not to come to the dance; her plans to orchestrate a marriage for Sarah with her son have hit another road block. Ephraim once again reminds Martha that Sarah may not be interested in Cyrus at all, but Martha resists to this notion.
Towards the end of the evening, Martha notices Sam and Jonathan having a serious conversation with one another. Before she can investigate, however, Cyrus asks Martha to dance, and Jonathan leaves.
On her way home, Martha discovers Jonathan and Sally in the middle of a sexual encounter on Mill Creek Bridge. She is astonished by the public nature of the location and makes herself known to the couple. Jonathan makes the weak excuse that he was simply escorting Sally home, which Martha does not humor, telling him that he’d better actually take the girl home. She promises Jonathan that they will discuss Sally later. During that conversation, Jonathan informs Martha that he has no intention of marrying Sally, and Martha admonishes him for raising Sally’s hopes of commitment.
The Court of Common Pleas assembles to decide what charges, if any, will be issued against North. Martha is in attendance, along with most of the town. Before the proceedings begin, Ephraim notes that a blizzard is fast approaching. Martha reiterates that Burgess was hanged, despite the absence of a rope from the crime scene. Page testifies after her and once again asserts that Burgess drowned, but the judges find his explanation questionable. Defiantly, Page then reveals that he knows Cyrus to have fought with Burgess beforehand, making Cyrus a suspect in the murder. Martha is forced to admit to having known about the fight but maintains that Cyrus is not guilty. Cyrus is called to testify, and the judges are baffled to discover that he is mute. They order Cyrus to provide a written deposition.
Next, the judges call Sally Pierce to the stand to provide her account of Rebecca Foster’s conversation with Martha. Once again, Sally claims to have heard Rebecca admitting that her husband killed Burgess, and once again, Martha refutes this narrative. Finally, Rebecca is called to give testimony. She provides a detailed, emotional account of the rape, citing Martha as her only witness. North claims that his wife can disprove Rebecca’s accusations by confirming his alibi. Finding North’s reasoning flimsy, but unable to find a witness who saw the crime as it was happening, the judges decide to charge him with attempted rape. North flees the tavern and disappears.
Martha and Ephraim wake up the next morning to a blizzard. They go outside and feel the snow, remembering a blizzard in 1755 during the earliest days of their marriage. Rekindling romantic memories, the couple heads back to bed.
During the blizzard in 1755, Martha and Ephraim lay in bed, having finally consummated their marriage. Reminiscing about the prior night, Martha remembers Ephraim whispering lines from the Song of Solomon in her ear.
While the novel’s central cast of characters are provided with intricate backstories, Lawhon’s few characters of color remain notably mysterious. Chief among these is Doctor. Lawhon positions mystery as a key aspect of Doctor’s character, one that she self-protectively cultivates and maintains. By ensuring that her medical care remains shrouded in secrecy, Doctor maintains a clandestine practice in which she cares for the women of Hallowell year after year. As Martha relates, “There are so many things about Doctor that I don’t understand… But if I could ask Doctor any question—and be guaranteed an answer—I would ask her name” (171). Lawhon’s characterization of Doctor’s mystique is certainly racialized; as the novel’s only Black character, the exoticization of her exceptional medicinal skill becomes inextricably associated with the color of her skin, playing into the racist literary trope of the “Magical Negro.” Doctor’s intentional anonymity protects her practice, but the narrative also highlights the ways in which Martha and the townspeople position her as “other” by fixating on her race—the townspeople habitually refer to her as “that Negro woman” in the absence of her name (19). Lawhon’s portrayal of Doctor thus teeters on a razor-thin edge between empowering and demeaning; though the author humanizes her through the act of representation, she also dehumanizes her by attributing mystical powers to her medical practice, differentiating it from Martha’s. In much the same way that Page’s refusal to learn his patients’ name robs them of individual respect and identity, Doctor can never have a fully realized identity because she is not granted a name in the text.
The issue of racial empowerment through representation is closely tied to the novel’s core theme of Puritan Shame Culture and Gender Oppression. Martha’s support of Doctor, in spite of the ostracization she faces as a Black woman from other members of the community, serves as a reminder to readers of intersectional dimensions of feminism. Whether the real Martha Ballard would have had this particular understanding of racial and gender equality is up for debate, but within this fictional text, the two healers enjoy a sense of camaraderie that purports to transcend race by uniting the two women in their care for their community, yet notably differentiating them through the exoticization of Doctor.
Lawhon adds specificity to Doctor’s characterization through her identity as a French speaker, evoking the history and influence of French colonization and participation in the transatlantic slave trade. During the scene in Doctor’s cabin, Lawhon peppers French words throughout the dialogue, usually at the end of her sentences. This multilingualism gives Doctor's dialogue a distinct voice, and recalls Martha’s observation about the diverse makeup of Hallowell in Part 1:
Ours is a community of first-, second-, and third-generation immigrants, and the conversations reflect this diversity. Those gathered speak primarily in English, with varied accents, but jocular bursts of German, French, and Spanish rise above the din as well (64).
Whereas other characters, such as Amos Pollard, demonstrate cultural differences through the transliteration of their accents, Doctor is unique in her integration of the actual French language. She refers to herself with the distinctive title “accoucheuse” (167). From Martha’s notably white and relatively privileged perspective, Doctor utilizes her own social oppression and ostracization to profit, marketing her “otherness” as a medicinal qualification—a perspective that Doctor herself never espouses. Martha treats Doctor with an exceptional level of reverence, looking to her as a teacher and refusing to take advice from any other community member. The sage advice Doctor provides to Martha is consistent with the characterization of Black women in this period as both preternaturally wise and helpful, whose primary narrative is to help and guide the white protagonist: “Worry only about the care you give when called upon. The rest is not yours to fret about” (172). In some sense, then, though the mystique Doctor has built for herself keeps her safe in a world of white supremacist hatred, it also places undue pressures of wisdom upon her, as white women (including Martha) expect her to consistently have wise answers.
Martha projects a similar mystique onto the Wabanaki community who live near Hallowell. Before entering the cabin, she is startled by a Wabanaki family, and stares at them with an intense curiosity: “Fascinated, I wait until that flash of crimson is no longer visible between the pine boughs before I approach the cabin” (169). Martha’s relationship with racial minorities is thus perpetually self-contradictory: she behaves warmly in her genuine attempts to be friendly and supportive, yet perpetually others characters of color in her language (“crimson” evokes the racist language assigned to Indigenous Americans by white settlers) and inability to treat them as equals.
By Ariel Lawhon
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