Thérèse Raquin, Émile Zola (1867), #ZolAddiction2019

This life of alternating excitement and calm went on for eight months. The lovers lived in perfect bliss. Thérèse was no longer bored, and had nothing left to wish for; Laurent sated, coddled, heavier than ever, had only one fear, that this delectable existence might come to an end.

 

raquinThe premise of Émile Zola’s, Thérèse Raquin is simple: a man and a woman fall in love, but the woman’s husband is hampering their future plans, so they kill him, guilt ensues and they don’t live happily ever after. A rather common premise. But the way Zola tells it as he gets into the minds of Laurent and Thérèse and describes what lives there results in a thrilling narrative of lies, deceit and descent into depravity.

Thérèse was brought to her aunt when she was an infant by her father after her mother died. She grew up with her cousin, Camille, the only child of Madame Raquin. She has brought him up as a weak and sickly boy who she must always have near her. She decided early on that when the two grew up they would marry. Camille fights for some autonomy from his mother at the beginning of his marriage and decides he wants to move to Paris to find a career.

Madame Raquin uses the proceeds from the sale of her home to buy a haberdashery in what turned out to be a dark and dismal throughway in Paris, called Passage du Pont-Neuf, that she and Thérèse can work in to support the little family and to tide them over until Camille finds a job, which he does at the Orleans Railway Company. Thérèse, who at this point, does not seem to have a mind of her own accepts the fate of a life working in a dingy shop and a passionless marriage. Her outlook changes when Camille brings home his co-worker Laurent and he and Thérèse begin a fanatical love affair. In their overwhelming desire to be together, Thérèse and Laurent think murdering Camille will solve their problem.

One day while boating in the Seine Laurent strangles and pushes Camille out of the boat where it is presumed he has died. Laurent haunts the morgue for weeks hoping to find Camille’s body. When it finally shows up, Laurent realizes the sight of the bloated slimy body will always haunt him. For Thérèse, too, the murder of her husband did not have the effect she had hoped for and her nightmares and wracked nerves give her no peace.

Laurent and Thérèse finally marry, but the fervor that characterized the early weeks of their relationship is gone, because both find the presence of Camille filtering into their waking and sleeping life. In fact, they can’t even sleep together as both feel Camille between them in the bed.

The memory of Camille, his presence, his haunting their days and nights, the murder itself has the opposite effect of allowing their relationship to flourish as the shock and guilt of the crime has ruined any chance of a future together.

Laurent must work and Thérèse must tend to the shop, and neither are happy when together. When Laurent quits his job and rents a garret to further his interest in painting he finds no matter the sex or age of the figures he paints, they all take on the features of Camille; even the dogs and cats he paints reflect him. Thérèse, who is stuck in the shop with her mother-in-law can only go through the motions of serving customers.

When Madame Raquin suffers a physically paralyzing stroke Thérèse must take on her care as well as continuing the work in the shop. A second stroke renders her mute. And as the strain and toll of Camille’s murder wears on Laurent and Thérèse, they stop guarding their tongue in front of the old woman making it apparent they killed her son.

Unable to speak, Madame Raquin tries in the company of some friends to accuse the two and in a suspenseful scene struggles laboriously to lift one finger and begins to air-write the names of Laurent and Thérèse in front of her. But her friends think she means to thank them for their care of her. She is devastated that the murderers will go unpunished and that she is powerless to bring Camille justice. On top of her frustration, Thérèse has taken to making lengthy declarations of remorseful pleas of apology while she sits helplessly in her chair.

The telling of the story is riveting because of the way Zola lets the reader in on the thought processes of the characters. We are lead into the nooks and crannies of the minds of Thérèse and Laurent, but not in a heavy-handed manner. This is not a psychological study into what motivates murderers, even though Zola meticulously describes the phases of their mental state after the murder. These phases are quite damaging and wretched to Thérèse and Laurent as individuals as well as how they treat each other. But Zola describes their unfolding insanity as part of the narrative rather than discussing it as a treatise into the ‘mind of a murderer;’ the difference between a police report vs a psychiatric analysis. For me it is a chilling (and very effective) way to tell a story like this, where emotion is described, but not psychoanalyzed.

At first Thérèse is on top of the world after killing Camille. She spends more time out in the world, has an affair with a younger man, sits at cafes meeting people and starts reading novels which give her a window into adult relationships that she did not grow up with. She understands how her friend Suzanne, like the women in these novels, can accept the difficulties of living in a passionless marriage and still be kind to her husband. In other words, these novels showed her, “it was possible to be happy without killing your husband.”

Weeks and months go by proving to Thérèse and Laurent that getting rid of Camille isn’t giving them their hoped for ‘happily ever after.’ Their once demanding and insatiable drive for each other now fills them with a loathing. Murder is the bucket of cold water against desire.

The lovers made no further attempt to see each other alone. They never arranged a single meeting or even exchanged a furtive kiss. For the time being murder had cooled the voluptuous fevers of their flesh, and by killing Camille they had succeeded in slaking the wild and unquenchable desires which they had failed to satisfy even when crushed in each other’s arms. Crime seemed an acute enjoyment that made their embraces boring and sickening.

The slow deterioration of the couple makes it obvious they cannot go on together haunted as they are both mentally and physically by Camille.

As I turned the pages I could not for the life of me figure out how this was all going to end. If Madame Raquin died and the two were left alone together without her as a buffer or confessor, I couldn’t see how they could stay together without going insane. Maybe the ending is obvious to some, but it left me stunned.

Murder, which came to their minds, seemed natural and inevitable, the logical outcome of the murder of Camille. They did not even weigh the pros and cons, but accepted the idea as the only means of salvation.

But who murdered whom and who got the final vindication is yours to discover if you so choose to read the book?!

Personal Thoughts

I read this in conjunction with #ZolAddiction2019 a reading event of the life and work of Émile Zola hosted by Fanda at Klasikfanda. Thérèse Raquin was written early in his career and the matter of fact way he narrates this murder mystery really worked for me. I responded to his simplicity of describing the complicated descent into insanity, instead of creating a more complicated narrative delving into early life experiences, negative parental influences or traumatic events.

Another point I admire is the fairly self-contained space of the action which is mostly in the shop and the living quarters above it. Except for the scenes in Laurent’s garret and the river where Camille is killed, the characters are confined to these two settings. And if murder is a dirty business, Zola makes the setting fit the atmosphere. His depiction of the little shop Madame Raquin bought that Thérèse is supposed to turn into a money-maker is so viscerally descriptive as a prelude for the moral and physical decay of Thérèse’s future, that you know as a reader, things are not going to go well in any aspect of her life.

As Thérèse entered the shop that from now on was to be her home, she felt as though she were going down into a newly-dug grave. A sort of nausea seized her in the throat and she shuddered. She looked at the dingy, damp arcade, went over the shop, went upstairs, went round each room, and these bare unfurnished rooms were terrifying in their solitude and decay. She could not move or utter a word, but was chilled through and through. When her aunt and husband had gone downstairs again she sat on a trunk. Her hands were numbed and her breast was bursting with sobs but she could not cry.

Thank you to Fanda and to all the ZolAddicts for opening my eyes to a new author!

____________________

My Edition
Title: Thérèse Raquin
Author: Émile Zola
Publisher: Penguin
Device: Paperback
Year: 1867
Pages: 256

#ZolAddiction2019

Classics Club Spin #20

CCspin18.jepg

 

The excitement of the Spin always jump starts whatever slump I might be in and hopefully this time I will succeed in both reading and AND writing up my Spin title!

If you don’t know, in order to participate, join the Classics Club–it’s the kind of club where the only membership requirement is to make up a list of 50 classic literature titles and read them! For the Spin, take 20 titles from this list and number them. On April 22nd the Spin gods choose a number. That is the title you will read.

My list this time has no rhyme or reason except these are all books I want to read and am not dreading….(for example, Moby Dick will not appear here even though it is on my CC List….dread).

ETA: The Spin Gods have spoken, #19, which means I will be reading Virginia Woolf’s Night and Day! The deadline to review is May 31st and I will do my best to comply. 🙂

Best Wishes to all Spin participants on YOUR #19!

Willa Cather
1. O Pioneers! (1913)
2. My Antonia
(1918)

George Eliot
3. Mill on the Floss (1860)
4. Middlemarch (1874)

E.M. Forster
5. Room with a View (1908)

Elizabeth Gaskell
6. Mary Barton (1848)
7. Cranford
(1851)
8. North and South (1854)

Shirley Jackson
9. We Have Always Lived in the Castle
(1962)

Henry James
10. Daisy Miller (1878)
11. Portrait of a Lady
(1881)
12. What Maisie Knew (1897)
13. The Ambassadors (1903)

Mary Shelley
14. Frankenstein (1818)

H. G. Wells
15. First Men in the Moon (1901)
16. The Invisible Man (1897)
17. Christina Alberta’s Father (1932)

Oscar Wilde
18. The Picture of Dorian Gray (1890)

Virginia Woolf
19. Night and Day (1919)
20. To the Lighthouse (1927)

The Age of Innocence, Edith Wharton (1920)

It was not the custom in New York drawing rooms for a lady to get up and walk away from one gentleman in order to seek the company of another. Etiquette required that she should wait, immovable as an idol, while the men who wished to converse with her succeeded each other at her side. But the Countess was apparently unaware of having broken any rule, she sat at perfect ease in a corner of the sofa beside Archer, and looked at him with the kindest eyes.

 

AgeinnocenceThis the fourth book I’ve read by Edith Wharton after Ethan Frome, Summer and The House of Mirth. I see similar patterns in all of them, but each one is from a fresh perspective, from the particular protagonist.

Wharton seems to be interested in the struggle between a person’s freedom versus society’s demands; between the ability to dream a new reality for yourself and what your class says you can and cannot do. In each of the aforementioned books the main character is caught in what they want for their life and their inability to get it. There is always interference and it is then that their conscience kicks in or their chance to choose is lost. And then they resign themselves to their fate. This is my perspective, anyway.

The Age of Innocence tackles marriage and after only a few pages in it is obvious that this particular courtship is not going to go well.

It is an opera night in 1870s New York City and the well-known Swedish opera singer Christine Nilsson is performing. Newland Archer is scanning the audience and rests his eyes on the box across from him where May Welland, his soon to be announced fianceé is sitting with her mother and aunt. He has the vantage to observe her unnoticed.

His thoughts at first are to his love and what he will make of her and how she has been raised to be molded by her husband. “…he contemplated her absorbed young face with a thrill of possessorship in which pride in his own masculine initiation was mingled with a tender reverence for her abysmal purity.” He is interrupted when a friend points out a young woman who has just entered the Welland box and whose foreign dress is causing a stir. She is Madame Ellen Olenska, May’s cousin, who has come from Europe having run away from her husband and has come home to get a divorce.

At first, Ellen is shunned by many of her American relations who fear the disgrace divorce would cast on their reputation. When Newland’s law firm takes on the handling of the divorce, he is asked by the family to intercede with Ellen and encourage her not to file. Later he is asked to dam this breach between Ellen and the family due to his marriage to May, which leads to a disaster as the two fall in love.

As Newland navigates the thorny rules and rituals of courtship and marriage, he exposes the faults and farce of the new state he is entering into. He catches himself musing on what he expects his wife to be; while not quite equals, he wants something that is more free than what he sees in his circle. But the way women are raised, how can this be?

He reviewed his friends’ marriages—the supposed happy ones—and saw none that answered, even remotely, to the passionate and tender comradeship which he pictured as his permanent relation with May Welland. He perceived that such a picture presupposed, on her part, the experience, the versatility, the freedom of judgment, which she had been carefully trained not to possess; and with a shiver of foreboding he saw his marriage becoming what most of the other marriages about him were: a dull association of material and social interests held together by ignorance on the one side and hypocrisy on the other.

Would his marriage become like so many others where the husband “had formed a wife so completely to his own convenience that, in the most conspicuous moments of his frequent love-affairs with other men’s wives, she went about in smiling unconsciousness…”

Newland reasoned that the things he loved about May–her frankness, her grace and loyalty were an artificial construct.

He felt himself oppressed by this creation of factitious purity, so cunningly manufactured by a conspiracy of mothers and aunts and grandmothers and long dead ancestresses, because it was supposed to be what he wanted, what he had a right to, in order that he might exercise his lordly pleasure in smashing it like an image made of snow.

Wharton pulls no punches here.

Ellen, through her life experiences, possesses the sexual and intellectual freedom that Newland desires in a woman, a wife. And yet she is not free. Even if Newland wanted to leave May, the lack of a divorce would stand in the way of their marriage. Ellen sees the futility of living in limbo and announces she is going back to Paris, presumably to her husband. And what Newland and men like him don’t understand, is that women like May see through the bars of their gilded cage; they understand what marriage really is and only pretend to ‘smile in unconsciousness.’ Sick at Ellen’s departure, Newland tells May he wants to take a trip. Without missing a beat she tells him she is pregnant and that she told Ellen so a few weeks ago.

“You know I told you we had a long talk one afternoon—and how dear she was to me.”

“But that was a fortnight ago, wasn’t it? I thought you said you weren’t sure till today.”

“No; I wasn’t sure then—but I told her I was. And you see I was right! she exclaimed, her blue eyes wet with victory.

In the final chapter decades have passed. May has born three children and after 26 years of marriage has died. Newland thinks of his life with her as deep and real. Ellen, though, lives only in the past. And at the very end of the novel when circumstances take the turn that both had wished for long ago, Newland makes a remarkable decision.

It would be easy to dislike a character like Newland Archer, but Wharton makes it impossible. He is honestly trying to assess the promise of his life against the social conventions of his time; exposing the hypocrisy of  the status quo and the values they hold dear.

_____________

My Edition
Title: The Age of Innocence
Author: Edith Wharton
Publisher: Barnes and Noble Classics
Device: Paperback
Year: 1920
Pages: 307
Full plot summary

Challenges: Classics Club

 

Rebecca, Daphne du Maurier (1938)

Unconsciously I shivered, as though someone had opened the door behind me, and let a draught into the room. I was sitting in Rebecca’s chair, I was leaning against Rebecca’s cushion, and the dog had come to me and laid his head upon my knee because that had been his custom, and he remembered, in the past, she had given sugar to him there.

 

RebeccaWhen I put Rebecca on my Classics Club list, I didn’t know anything about it. I put it on my list with the same intention I put many classics on it: I want to read well-known or important classics, and knew this was one of them.

When I started book blogging, I discovered how many readers include Rebecca on their top 10 favorites list. That in itself was intriguing, yet there were so many other classics I knew about that I wanted to read first.

Now I am initiated. Now I understand.

(Caveat: For those not initiated, you will see often in this post ‘the second Mrs. de Winter,’ this is because her name is never mentioned).

There is so much tension built into this book, which begins in the first pages where an unnamed narrator is recounting a dream. It is a beautiful descriptive dream of a house, its grounds and its secrets and an ominous statement that it is no more.

The house was a sepulchre, our fear and suffering lay buried in the ruins. There would be no resurrection.

When the young second Mrs. de Winter comes to Manderley, her background has not prepared her to take up the responsibilities of caring for a show place like Manderley. Her shyness and reticence in the presence of the household staff and housekeeper Mrs. Danvers, does not instill confidence and she is constantly questioning herself and her marriage to Maxim. In her mind she concocts rich fantasies about what the staff really thinks of her, although reality is never as bad as her thoughts. But there is another facet of this experience she has no control over. She is living with the ghost of the first Mrs. de Winter, Rebecca and her secrets, that permeate every aspect of the second Mrs. de Winter’s life.

No one will talk about Rebecca, which only adds to the second Mrs. de Winter’s rich fantasy life. Though many characters are introduced including Beatrice, Maxim’s sister and kind-hearted Frank Crawley, Maxim’s business associate, who genuinely like and accept her their refusal to talk about Rebecca and her death hangs over Mrs. de Winter’s ability to feel comfortable in the house.

That is until Mrs. Danvers, who it turns out was not just the housekeeper, but Rebecca’s confidante confronts Mrs. de Winter when she catches her in Rebecca’s suite and is only too happy to talk. Danvers is the classic dead mistress-obsessed housekeeper who refuses to let go of the past. She cleans and dusts this suite every day. She lays out Rebecca’s clothes as if she is only gone for the day. du Maurier writes this scene so well. It is easy to share de Winter’s panic as Danvers speaks.

It’s not only this room it’s in many rooms in the house…I feel her everywhere. You do too, don’t you?”…Sometimes, when I walk along the corridor here, I fancy I hear her just behind me. That quick light footstep. I could not mistake it anywhere. And in the minstrels’ gallery above the hall. I’ve seen her leaning there, in the evenings in the old days, looking down at the hall below and calling to the dogs. I can fancy her there now from time to time. It’s almost as though I catch the sound of her dress sweeping the stairs as she comes down to dinner.” She pauses. She went on looking at me, watching my eyes. “Do you think she can see us, talking to one another now? Do you think the dead come back and watch the living?”

I swallowed. I dug my nails into my hands.

Sometimes I wonder,” she whispered. “Sometimes I wonder if she comes back here to Manderley and watches you and Mr. de Winter together.”

When a ship capsizes in the bay and Rebecca’s small boat is discovered with her dead body still inside Maxim has no choice but to reveal the truth about how she died. It is a shocking revelation, but in my opinion, less shocking than the reasons he did it. As she listens to the truth about their marriage, as she hears the details about who Rebecca really was and as the investigation and inquest unfold, she is transformed. She is determined to support her husband, will hear all he is accused of, will stay by his side. In this regard she grows up and is changed overnight. Even Maxim acknowledges her transformation, dismayed that it is his fault.

But you. I can’t forget what it has done to you. I was looking at you, thinking of nothing else all through lunch. It’s gone forever, that funny, young, lost look that I loved. It won’t come back again. I killed that too, when I told you about Rebecca. It’s gone, in twenty-four hours. You are so much older…

And then he says her name. He doesn’t, of course, but in my head it would have made so much sense for him to say it here.

Du Maurier’s writing style is quite amazing in this book. How many passages are worth quoting her way with words? How detailed she gives to the narrative whether in describing a person, Manderley and its grounds, or an event, but the narrative never feels bogged down in the details.

Yet, it is the details that infuse, propel and wrap up the story. I spent the last quarter of the book on a roller coaster as one revelation proves Maxim’s guilt while another one covers it up, while still another could go either way. I have never been very good at guessing outcomes in books, so I was not prepared for the very end. While it explains the dream of the first few pages and why the narrator is estranged from her home, I was still shocked. With eyes as big as saucers I closed the book…“What???”

I have heard people say and I have said it too about books that really touched me; I wish I could forget I read this book so I can read it again for the first time.

*********

My Edition
Title: Rebecca
Author: Daphne du Maurier
Publisher: Avon
Device: Paperback
Year: 1938
Pages: 380
Full plot summary

Challenges: Roofbeam Reader TBR, Classics Club

My Life in Books (2017)

 

 

Adam, at RoofBeamReader.com, just posted a fun end of the year round-up. Called, ‘My Life in Books,’ you answer a set of questions using one of the titles you’ve read this year.

I hope you’ll join in. I’d love to see what you come up with! Here’s mine:

 

1. In high school I was: (one of the) Radio Girls, Sarah-Jane Stratford

2. People might be surprised: (that) Peace Breaks Out, John Knowles

3. I will never be: Dracula, Bram Stoker

4. My fantasy job is: Being a Dog, Alexandra Horowitz

5. At the end of a long day I need: A Walk with Jane Austen, Lori Smith

6. I hate it when: (there is) Fever 1793, Laurie Halse Anderson

7. Wish I had: The Bronze Bow, Elizabeth George Speare

8. My family reunions are: The Wonder, Emma Donoghue

9. At a party you’d find me with: Heroines of Mercy Street: The Real Nurses of the Civil War, Pamela D. Toler

10. I’ve never been to: Northanger Abbey, Jane Austen

11. A happy day includes: The Nature Principal, Richard Louv

12. Motto I live by: Where Angels Fear to Tread, E. M. Forster

13. On my bucket list is: The Moonstone Castle Mystery, Carolyn Keene

14. In my next life, I want to have: Penguins and Golden Calves, Madeleine L’Engle

 

 

 

Fever 1793, Laurie Halse Anderson (2000)

fever

 

I didn’t run from the redcoats, and I won’t run from a dockside miasma. What is wrong with people…We suffered all kinds of disease in our youth, but folks were sensible. They didn’t squall like children and hide in the woods. Captain William Farnsworth Cook, Pennsylvania Fifth Regiment.

Fever 1793, is a compelling historical novel based on the yellow fever epidemic that ravaged Philadelphia during the stifling hot summer of 1793. The story centers on 13-year old Mattie Cook, who watches helplessly as her beloved city grapples with the fear and devastation the epidemic wreaks.

Mattie’s parents own Cook’s Coffeehouse, a hub for politicians and merchants located two blocks from President Washington’s house. Philadelphia is the nation’s first capital city and Mattie is proud to live here. Since her father died, she helps her mother run the business along with Polly, the serving girl and her childhood friend, and Eliza, a free black who has been cooking up the special fare Cook’s is known for since it opened. As the city has prospered, so has Cook’s.

But August has brought fever—just a few cases to start, but enough to worry Mattie’s mother, Lucille, who forbids her daughter from doing any errands or getting provisions down at the docks. Some people are certain the refugees from Barbados have brought the illness and want them quarantined. Though others remind them there is always a sickness during the height of summer heat. Still, there are more cases as August progresses and there have been deaths. Lucille puts more restrictions on Mattie, who is frustrated at being so confined. When Polly does not come to work one day and it is learned she died of the fever, Lucille is adamant that Mattie be sent out of the city to friends out of town.

When it is declared the illness is in fact yellow fever, Philadelphia quickly empties as the wealthy leave for their homes in the country and others write to friends and family outside the city hoping they will take them in. Ships stop docking making food and other supplies scarce forcing businesses to close. Many who can’t get out hoard as much food as they can and close up their homes hunkering down inside for the duration. Amidst protest, Mattie is sent away with her grandfather.

And so begins Mattie’s harrowing journey to the family she never gets to, to the fever that almost kills her and the hospital stay where she recovers. Though weak and with Philadelphia still in the grip of the fever, her age precludes her being released with no place to go. There is no word of her mother’s fate and her aged grandfather cannot take full responsibility for her. Her only option is an orphan house for children who lost their parents and who have no other family to care for them.

But Mattie refuses. She wants to find her mother and go back home. Her determination cannot be matched, so she and her grandfather return to the coffeehouse only to find it has been plundered. After a few days of cleaning up, the coffeehouse is again broken into and her grandfather is killed. Mattie is now afraid to stay by herself.

Wives were deserted by husbands, and children by parents. The chambers of diseases were deserted, and the sick left to die of negligence. None could be found to remove the lifeless bodies. Their remains, suffered to decay by piecemeal, filled the air with deadly exhalations, and added tenfold to the devastation. Charles Brockden Brown (Memoirs of the Year 1793)

One of the very engaging aspects of the book are the historical quotes that begin each chapter adding to the reality of this frightening time. The real epidemic killed an astonishingly 5,000 people during the summer and early fall of 1793 until the first frost in October brought it to an end.

Anderson incorporates into the novel several contentious issues the epidemic sparked, including the controversial use of bloodletting to “release the poisons” from the blood; the argument between doctors who believed the fever spread through a “miasma” in the air, therefore confining patients to rooms with no access to fresh air versus those doctors who believed fresh air was healthy and part of the cure; the overwhelming number of children orphaned by the epidemic who needed to be housed; how the fever transformed some relationships between blacks and whites who worked together to help the city; and how this catastrophe brought out the best and worst in people as they fought for their lives.

There is great distress in the city for want of cash. Friendship is nearly entirely banished from our city. Dr. Benjamin Rush (1793)

Not for the The Free African Society, however. Founded in 1787 to aid widows, the infirm and out of work Africans, during the epidemic it offered to help all citizens of Philadelphia. Richard Allen and Absalom Jones co-founders of the Society put advertisements in the papers: “We set out to see where we could be useful—the black people were looked to. We then offered our services in the public papers, by advertising that we would remove the dead and procure nurses.”

And in fact, this is how Mattie found Eliza. After her grandfather was killed, Mattie knew she couldn’t stay in the coffeehouse and set out looking for news of her mother. She stumbled upon Eliza in the streets and found she was caring for and feeding the sick wherever she was needed. Eliza was able to fill Mattie in on all that had transpired since she was sent away. Mattie learned that her mother had gone to the family she was sent to, so what could she think when she found that Mattie had never arrived? But for the moment it was decided that without her grandfather and with the business too dangerous to stay in alone, Mattie would stay with Eliza’s family and would go out with her and nurse the sick.

Blessed be God for the change in the weather. The disease visibly and universally declines. Dr. Benjamin Rush (1793)

For weeks the city was caught in the grip of fever, death carts piled high as they rumbled down the streets. Finally, one blessed night a frost sets in and in a little more than a day or two the epidemic is over. Almost immediately the ships begin to dock bringing food and supplies to the beleaguered city and those who went to the country come back. George Washington makes his way back to Philadelphia and the whole city comes alive.

But Mattie has an uncertain future ahead of her. It is suggested she go into an orphan house until she reaches maturity. If she sells the coffeehouse, she can use the money for a dowry. Maturity? Hasn’t she seen and done enough in the last few months as any adult? No, she thinks. The coffeehouse is hers and it is a good respectful business. She will reopen it. But she knows she can’t do it alone and there is only one person she can trust who also has the experience to make the coffeehouse successful again. Though it is unconventional, she asks Eliza to go into partnership. She does not have to be asked twice.

A very satisfying book in which I learned about an event in American history I did not know before.

__________

My Edition
Title: Fever 1793
Author: Laurie Halse Anderson
Publisher: Simon and Schuster Books for Young Readers
Device: Trade paperback
Year: 2000
Pages: 252
Full plot summary

Classics Club Spin #16

classicsclub

 

I think this has come at a good time. My energy is flagging a bit and I feel the pressure of unfinished challenges before the year ends. Yes, this is self-inflicted pressure, but I sign up for these specific challenges because I LIKE them and the books they involve.

These Spins always bump up my enthusiasm and even though I don’t always finish on time, I usually do finish at some point. (Case in point: the last Spin, #15, was to be posted on May 1st. The Spin Goddess chose #12 which was Dracula. That post went up October 10th)!

If you are a Classics Clubber and have never done this I encourage you to try. It’s fun and you feel like part of the community.

It’s easy and simple to participate. From the website:

 

What is the spin?

It’s easy. At your blog, before next Friday, November 17th, create a post to list your choice of any twenty books that remain “to be read” on your Classics Club list.

This is your Spin List. You have to read one of these twenty books by the end of the year (details to follow). Try to challenge yourself. For example, you could list five Classics Club books you are dreading/hesitant to read, five you can’t WAIT to read, five you are neutral about, and five free choice (favorite author, re-reads, ancients — whatever you choose.)

On Friday, November 17th, we’ll post a number from 1 through 20. The challenge is to read whatever book falls under that number on your Spin List, by December 31, 2017. We’ll check in here in January to see who made it the whole way and finished their spin book!

 

Here is my list of 20 beginning from the top of my list of books I already have on my shelves. All the classics here would be first reads. I know, I know Pride and Prejudice, Rebecca, Wuthering Heights…where have I been?!!

ETA: And the Spin chose #4, Agnes Grey!

Jane Austen
1.Pride and Prejudice (1813)
2.Persuasion (1817)

Richard Doddridge Blackmore
3.Lorna Doone (1869)

Anne Bronte
4.Agnes Grey (1847)
5.The Tenant of Wildfell Hall
(1848)

Emily Bronte
6.Wuthering Heights (1847)

Willa Cather
7.O Pioneers! (1913)

Daniel Defoe
8.Robinson Crusoe (1719)

Theodore Dreiser
9.Sister Carrie (1900)

Daphne Du Maurier
10.Rebecca (1938)

George Eliot
11.Silas Marner (1861)
12.Daniel Deronda (1876)

Elizabeth Gaskell
13.Mary Barton (1848)
14.Cranford
(1851)
15.North and South (1854)
16.Wives and Daughters
(1864)

George Gissing
17.The Odd Women (1893)

Radclyffe Hall
18.The Well of Loneliness (1928)

 Henry James
19.Portrait of a Lady (1881)
20.The Bostonians (1886)