Ha, she thought. So I am to walk up to this woman, carrying Ian’s large, healthy, beautiful son. Plainly he wants her to see that—and I am ashamed to admit that I want that, too, but I do. It is not right that she should see my inner feelings, though. I am not come to triumph over her—nor cause her to doubt her wisdom in dismissing Ian.

Consideration of what she should wear for this occasion wasn’t vanity, she assured herself. It was a desire to look … appropriate.

She had only two dresses; it would have to be the indigo. Beyond that …

Catherine had taken her to the Sachem, who had listened carefully to her request and looked at her with the sort of keen interest she’d seen on Claire Fraser’s face—and Denny’s, for that matter—when presented with some medical phenomenon like a teratoma, a hollow tumor filled with teeth or hair. But the Sachem had nodded, and with great care had shown her how to make the paint from white clay and a handful of dark dried berries, soaked in what was likely deer urine from the smell, then ground into a blue paste and mixed with some of the white clay.

Catherine had watched the process, and when the pigments were prepared and approved by the Sachem, she had taken Rachel to her boudoir so that she might use the looking glass there to apply them neatly with a rabbit’s-foot brush.

Rachel had combed and tied her hair carefully back, then painted only the upper part of her face, from her hairline to just below the eyes, a solid white, and below that—after some thought—a narrow band of blue that crossed the bridge of her nose. Ian had told her some months ago—and Catherine Brant, though somewhat amused at her intent, had confirmed it—that to paint your face white in that manner meant that you came in peace, and that blue was for wisdom and confidence.

Rachel had wanted to ask Catherine whether she thought this course a wise one, but didn’t. She knew quite well it wasn’t, but the blue band was meant as an exhortation to those who saw it, as well as she who wore it.

“It is done?” Rachel asked; she’d asked before, and asked now only to hear reassurance. “Women do paint their faces, as well as men?”

“Oh, yes,” Catherine assured her. “Not war paint, of course, but to celebrate an occasion—a marriage, the visit of a chief, the Strawberry Festival …”

“An occasion,” Rachel said, with certainty. “Yes, it is.”

“Remarkable,” Catherine said happily, gazing over Rachel’s shoulder at her completed reflection in the mirror. “With those dark brows and lashes, your eyes are … startling. In a good way, to be sure,” she added hastily, patting Rachel’s shoulder.

WAKYO’TEYEHSNONHSA HAD A modest but good farmhouse on her land—and, like Thayendanegea, had a longhouse behind it, standing at the edge of the forest, so the wood and the hides and the leather thongs that bound it together seemed to melt into the trees.