58 pages • 1 hour read
Geraldine BrooksA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Content Warning: The source material contains child death, extreme violence towards women, detailed descriptions of traumatic births, symptoms from severe illness, and painful death.
After meeting with the Earl of Chatsworth and declaring the roads open, Mr. Mompellion closes himself inside the rectory and never leaves. Anna buries Faith and Aphra, as well as Elinor since the rector is paralyzed with grief. Mr. Stanley conducts Elinor’s funeral.
Mr. Mompellion stops sleeping. He continually stares at Elinor’s garden or paces the floor. Anna does her best to continue serving him to honor Elinor, but she fears for his mental stability. She calls for Mr. Stanley to visit him, and he worries that the rector’s mind is fraying. Mr. Mompellion asks that Mr. Stanley stop visiting and asks Anna to deliver a message: “Falsus in uno, falsus in omnibus” (265), which means “Untrue in one thing, untrue in everything” (265). When she relays the message to Mr. Stanley, he appears visibly disturbed. Anna maintains the Gowdies’ garden and continues to attend to the town’s medical needs, though she admits that the practice fills her with sad memories of the loss of Mem, Anys, and Elinor.
The village plods on with life, but Anna worries that the survivors resent the rector’s urging for them to quarantine, and some even blame him for all the deaths. Anna tries to relay good news from the villagers to Mr. Mompellion, such as Mary Hadfield’s betrothal or Merry Wickford and Jane Martin’s budding friendship, but he doesn’t care. Anna feels lost, thinking that she survived the plague and now lives out her days serving a man who wants to die. Seeing that he hasn’t shaved since Elinor’s death, Anna offers to do the job, but when she touches his face, she blushes and can’t finish.
The narrative comes full circle, with the Bradfords returning at the end of the fall season. After Elizabeth Bradford leaves, Anna visits Anteros in the stall and pulls out the letter she found that Mr. Mompellion verbally dictated to the Earl, who sent it to Elinor’s father announcing her death. She muses on his words, “never do that thing upon which you dare not first ask a blessing of God” (270), and wonders if the rector has completely lost his faith. She rides Anteros swiftly across the moors into the neighboring town, relishing her freedom and the joy of being alive.
Mr. Mompellion is waiting for her when she returns and asks if she has lost her mind, and she replies by asking him the same. He crumples to the ground in tears, and when Anna holds him as he cries, they begin to kiss passionately until the stable boy walks in. Anna rushes inside, embarrassed by the encounter, but Michael follows, and they make love on the kitchen floor and then upstairs in his bed. Afterward, they lie together, recounting all they have loved and lost, not speaking of the plague.
Anna goes home to tend to the sheep, and Michael follows and helps her with the chores, asking if he can stay the night and serve her. After washing her feet and massaging them, they make love on the floor and then share a meal. After having sex again in her bed, Anna falls into a deep sleep. The following day, she asks Michael if he thinks of Elinor when they are together, and he confesses that he and Elinor never consummated their marriage. He withheld sexual gratification from Elinor to redeem her soul from her grievous sin, one she could never atone for on her own. He claims that by begrudging himself pleasure in the process, he should be regarded as a saint, but now that it is evident that there is no God, he sees that the entire enterprise was pointless.
Anna is horrified at the revelation and runs from the cottage to Elinor’s grave, shocked at the hidden torture her friend endured in her marriage. Anna hides in the church and begins praying the Apostle’s Creed and hears a voice say, “Do you, Anna? Do you still believe in God?” (282) It is Elizabeth Bradford who has come to pray for her mother, who is dying in childbirth. Colonel Bradford sent a surgeon who, after examining her, claimed there is no hope to save her or the baby. Anna offers help, but Elizabeth scoffs, claiming she couldn’t know more than a learned surgeon from London. However, she relents, saying Anna can at least bear witness to her mother’s death and report back to the rector that his prophesy about their judgment came true.
Anna examines Mrs. Bradford. The baby is breech, but Anna sees she can efficiently resolve the problem and wonders if the surgeon intentionally left on Colonel Bradford’s command. She delivers a healthy baby girl and instantly feels that God has preserved her life just for this moment. Anna tells Elizabeth to go to the Gowdies’ for nettle to strengthen her mother’s blood, but Elizabeth refuses. Anna prepares to leave but realizes that she needs more clothing for the journey, and when she goes back inside, Elizabeth is drowning the baby in the kitchen. Anna lunges for the baby and holds off Elizabeth with a meat hook. Elizabeth claims that her father will never allow the “bastard” to live.
Anna demands that Elizabeth let her take the baby and raise it. Elizabeth agrees, but only if Anna promises to leave the village forever. They work out terms for Elizabeth to provide money to fund Anna’s new life. Mrs. Bradford thanks Anna for saving her daughter and gives her a ring and necklace to give the child when she is older.
At her cottage, Anna feeds the baby with milk from the cow before packing her meager belongings. She plans to leave her cottage and sheep to Merry Wickford and travel by mule out of town. Michael arrives and tells her that he learned of the happenings at the Bradfords, and he fears that Elizabeth may change her mind and, to protect her family’s reputation, kill both Anna and the baby. He tells her to leave immediately and ride Anteros to shelter at Elinor’s father’s estate. As she rides away, she stops briefly to look at him again.
Anna remembers a poem Elinor showed her by Margaret Cavendish, describing the sea. Now that she lives near the sea, she finds that the poem is a poor description of the beauty of the ocean.
Anna recalls how she came to her current home. Feeling that she should sever all ties with her former life, Anna traveled to Liverpool instead of to Elinor’s father’s home. She left hastily after the innkeeper told her a man was looking for her and the baby. After a long, rough sea voyage, the ship docked in Algeria, and after remembering all that she had learned from the Muslim Avicenna, Anna decided to stay. She found a home with the famous doctor Ahmed Bey in Oran and became his apprentice and, eventually, one of his wives, though only in name.
As she continues to learn, Anna serves as the midwife to Ahmed’s wives and helps improve their health. Ahmed becomes Anna’s companion, and they often discuss faith and religion. Anna enjoys learning about Ahmed’s faith but confesses that hers is diminished. Though she admits to loving the colorful sights and sounds of her new home, she often misses the green fields of Eyam. She once found Ahmed’s copy of the Quran and, drawn in by its bright green color, took it from the shelf. He scolded her for touching it since she isn’t Muslim, though he gifts her a rug with a Tree of Life in bright green embroidery.
With help from the locals, Anna named the Bradford baby “Aisha,” which means “bread” and “life” in Arabic (303). Anna enters the garden to find Aisha and her other daughter, Elinor. Anna gave birth to Elinor in Algeria, and the child has her father’s eyes.
As the plague recedes, The Complexities of Gender Roles once more become of paramount importance, as Anna comes into her own as an independent woman.
Having been the mistress of her household since Sam’s death, Anna now becomes the head of the Mompellion household, further exemplifying the shifting power dynamics wrought by the epidemic. Despite losing her best friend, Anna once again proves to be a robust and dynamic woman who can find hope even in dire circumstances. She solidifies her new role as she mounts Anteros and gallops freely across the moors. The Boundary Stone represents the farthest Anna has ever traveled and emblemizes the restrictions on her as a female. She now releases her hair and blazes past the stone, signaling her newfound freedom and independence.
Symbolically, apples return to the narrative, but this time, their presence symbolizes the forbidden sexual attraction between Anna and Michael (See: Symbols & Motifs). While Anna at first responds with passion to Michael’s advances, she soon realizes the full truth of his patriarchal beliefs. Just as he harshly rebuked Jane Martin for having premarital sex, Michael admits that he withheld sexual pleasure from Elinor to make her pay for getting pregnant and having an abortion: He regards open female sexuality as something aberrant, something to condemn and control in spite of his passionate lovemaking with Anna. His attitude is abhorrent to Anna, and her desire for him turns to disgust as she grasps the extent of his misogynistic perversion of religion. Moreover, he views his affair with her as part of his rebellious desecration of religion, which persuades Anna that he cannot, and will not, ever accept a woman as a true and loving equal.
Ironically, Anna flees to the church for refuge and prays for help understanding her situation. Her answer comes in an unlikely form as Elizabeth Bradford is there praying for her dying mother. Mrs. Bradford’s situation is the answer to Anna’s prayer: Delivering her baby not only confirms in Anna’s mind what her purpose in life should be going forward, but also offers her a path out of Eyam away from the ghosts of her past. The author uses the scene in the birthing room to further underscore the theme of The Complexities of Gender Roles, as every woman in the room is in danger, including the helpless baby. Colonel Bradford has abandoned his wife to die, Elizabeth could be punished for aiding her mother and saving the child, and the baby could be killed for simply existing. In keeping the baby, Anna embraces the prospect of new life blooming in the infant and within herself.
Sea crossings often represent change, and Anna’s journey from England represents a chance to start anew on her terms. Her choice not to take Mompellion or Elinor’s father’s help exemplifies her independence and her need to break ties with her former life altogether. Moving to the urban environment of Algeria allows Anna to continue to expand her knowledge and her view of the world. Being immersed in a different culture and religious tradition will enable her to continue to grow and explore her definition of faith outside the rigid religious structure in which she came of age.
The fact that Anna becomes part of a harem yet remains celibate shows that she prioritizes her work and female relationships over her physical gratification. In the end, it is fitting that Anna has two daughters, both of whom reflect their mother’s commitment to creating a better world for them and all women.
By Geraldine Brooks
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