Contents ( 51)
- Dedication
- Epigraph
- Prologue
- Evangeline
- St. John’s Wood, London, 1840
- Newgate Prison, London, 1840
- Newgate Prison, London, 1840
- Newgate Prison, London, 1840
- Newgate Prison, London, 1840
- Mathinna
- Flinders Island, Australia, 1840
- The Tasman Sea, 1840
- Hobart Town, Van Diemen’s Land, Australia, 1840
- Evangeline
- The Port of London, 1840
- Medea, The Port of London, 1840
- Medea, 1840
- Medea, 1840
- Medea, 1840
- Medea, 1840
- Medea, 1840
- Medea, 1840
- Mathinna
- Government House, Hobart Town, 1840
- Government House, Hobart Town, 1840–1841
- Government House, Hobart Town, 1841
- Hazel
- Medea, 1840
- Hobart Town, 1840
- Hobart Town, 1840
- The Cascades, 1840–1841
- Hobart Town, 1841
- Mathinna
- Government House, Hobart Town, 1841
- Government House, Hobart Town, 1841
- Government House, Hobart Town, 1841–1842
- Government House, Hobart Town, 1842
- Hazel
- Hobart Town, Van Diemen’s Land, 1842
- The Cascades, 1842
- Hobart Town, 1842
- Hobart Town, 1843
- Hobart Town, 1843
- Hobart Town, 1843
- Ruby
- St. John’s Wood, London, 1868
- Acknowledgments
- About the Author
- Novels by Christina Baker Kline
- Copyright
- About the Publisher
Accompanying her father on visits to the ailing and infirm, Evangeline had learned to tuck a blanket around a feeble form or spoon broth into a slack mouth, to murmur psalms to the dying: Praise the Lord, my soul, and forget not all his benefits—who forgives all your sins and heals all your diseases, who redeems your life from the pit and crowns you with love and compassion. But she had not actually empathized. Not really. Even after leaving the home of a sickly parishioner, she would turn with thinly veiled distaste from a beggar in the street.
How young she’d been, she realized now, how easily shocked, how quick to judge.
Here she couldn’t pull the door behind her or turn away. She was no better than the sorriest wretch in the cell: no better than Olive, with her coarse laugh and rough manners, who sold her body on the street; no better than the unfortunate girl singing the lullaby, who held her infant for days until someone noticed it was dead. The most private, shameful parts of being human—the bodily fluids people spent their lives trying to contain and conceal—were what most deeply connected them: blood and bile and urine and shit and saliva and pus. She felt horrified to have been brought so low. But she also felt, for the first time, a twinge of true compassion for even the most despicable. She was one of them, after all.
The cell quieted as two guards came in to take the lifeless infant from its mother. They had to pry it from her arms as she stood humming a tuneless song, tears streaming down her cheeks.
Yes, Evangeline loathed this place, but she loathed more the vanity and naivete and willful ignorance that had landed her here.
One morning, about a fortnight after she’d been brought in, the iron door at the end of the hallway clanged open and a guard shouted: “Evangeline Stokes!”
“Here!” Struggling to be heard above the din, she pulled herself toward the cell door. She glanced down at her stained bodice, her hem weighted with filth. She smelled her own rank breath and sweat and swallowed the fear in her mouth. Still, whatever awaited her out there had to be better than what was in here.
The matron and two guards carrying truncheons appeared at the cell door. “Move aside, let ’er through,” one of the guards said, thwacking the grate with his stick as the women surged forward. When she reached the door, Evangeline was hauled out, shackled, and escorted across the street to another gray building, the Sessions House. The guards led her down a narrow set of stairs to a windowless room filled with holding cells stacked on top of each other like chicken pens, each barely large enough for one hunched adult, with slatted iron bars on either side. Once she was locked inside, and after her eyes adjusted, she could see the shapes of prisoners in other cells and hear their groans and coughs.