By Anita Shreve
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Table of Contents
Preview of The Pilot’s Wife
Preview of Stella Bain
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DURING THE NIGHT of March 5, 1873, two women, Norwegian immigrants, were murdered on the Isles of Shoals, a group of islands ten miles off the New Hampshire coast. A third woman survived, hiding in a sea cave until dawn.
The passages of court testimony included in this work are taken verbatim from the transcript of The State of Maine v. Louis H. F. Wagner.
Apart from recorded historical fact, the names, characters, places, and incidents portrayed in this work are either the products of the author's imagination or, if real, are used fictitiously.
The matter of who killed Anethe and Karen Christensen was settled in a court of law, but has continued to be debated for more than a century.
I HAVE TO let this story go. It is with me all the time now, a terrible weight.
I sit in the harbor and look across to Smuttynose. A pink light, a stain, makes its way across the island. I cut the engine of the small boat I have rented and put my fingers into the water, letting the shock of the cold swallow my hand. I move my hand through the seawater, and think how the ocean, this harbor, is a repository of secrets, its own elegy.
I was here before. A year ago. I took photographs of the island, of vegetation that had dug in against the weather: black sedge and bayberry and sheep sorrel and sea blite. The island is not barren, but it is sere and bleak. It is granite, and everywhere there are ragged reefs that cut. To have lived on Smuttynose would have required a particular tenacity, and I imagine the people then as dug in against the elements, their roots set into the cracks of the rocks like the plants that still survive.
The house in which the two women were murdered burned in 1885, but when I was here a year ago, I photographed the footprint of the house, the marked perimeter. I got into a boat and took pictures of the whitened ledges of Smuttynose and the black-backed gulls that swept and rose above the island in search of fish only they could see. When I was here before, there were yellow roses and blackberries.
When I was here before, something awful was being assembled, but I didn't know it then.
I take my hand from the water and let the drops fall upon the papers in the carton, dampened already at the edges from the slosh. The pink light turns to violet.
Sometimes I think that if it were possible to tell a story often enough to make the hurt ease up, to make the words slide down my arms and away from me like water, I would tell that story a thousand times.
IT IS MY job to call out if I see a shape, a rocky ledge, an island. I stand at the bow and stare into the fog. Peering intently, I begin to see things that aren't really there. First tiny moving lights, then minutely subtle gradations of gray. Was that a shadow? Was that a shape? And then, so shockingly that for a few important seconds I cannot even speak, it is all there: Appledore and Londoners and Star and Smuttynose—rocks emerging from the mist. Smuttynose, all of a piece, flat with bleached ledges, forbidding, silent.
I call out. Land, I guess I say.
Sometimes, on the boat, I have a sense of claustrophobia, even when alone on the bowsprit. I have not anticipated this. We are four adults and one child forced to live agreeably together in a space no bigger than a small bedroom, and that space almost always damp. The sheets are damp, my underwear is damp. Rich, who has had the boat for years, says this is always true of sailing. He gives me the impression that accepting the dampness, even taking a certain pleasure in it, is an indication of character.
Rich has brought a new woman with him whose name is Adaline.
Rich gives instructions. The sailboat is old, a Morgan 41, but well-tended, the teak newly varnished. Rich calls for the boat hook, shouts to Thomas to snag the buoy. Rich slows the engine, reverses it, guns it slightly, maneuvers the long, slim boat—this space that moves through water—alongside the mooring. Thomas leans over, catches the buoy. Adaline looks up from her book. It is our third day aboard the sloop: Hull, Marblehead, Annisquam, now the Isles of Shoals.
The Isles of Shoals, an archipelago, lie in the Atlantic, ten miles southeast off the New Hampshire coast at Portsmouth. The islands measure three and a half miles north and south by one and a half miles east and west. There are nine islands at high tide, eight at low; White and Seavey are connected. The largest island looked to its first residents like a fat pig wallowing in the sea, and hence the name of Hog. Smuttynose, our destination, derived its name from a clump of seaweed on the nose of a rock extending into the ocean. It has always been an off-putting name, though the others read like poetry from a ship's log: "We passed today the islands of Star and Malaga and Seavey and Londoners; and navigated to our success the treacherous rock of Shag and Eastern and Babb's and Mingo."
In 1635, the Isles of Shoals were formally divided between the Massachusetts Bay Colony, which included Maine, and the territory subsequently to be known as New Hampshire. Duck, Hog, Malaga, Smuttynose, and Cedar went to Maine. Star, Londoners, White, and Seavey went to New Hampshire. The division has always held. In 1635, when the ordinance was first declared, nearly all of the residents of Star fled to Smuttynose, because it was still legal to drink in Maine.
From the guidebooks, I read startling facts: On the island of Star, in 1724, a woman named Betty Moody hid herself and her three children from Indians in a cavern. She crouched near to the ground and held one of the children, an infant girl, tightly to her breast. Mrs. Moody meant to silence her baby to keep the child from giving away their location, but when the Indians had gone, she discovered that she had smothered the girl.
Rich looks like a wrestler: He is neatly muscled and compact. His head is shaved, and he has perfect teeth. I do not think he resembles Thomas at all—an odd, genetic quirk; there are ten years between them. Rich tickles Billie unmercifully, even on the Zodiac. She squeals as if she were being tortured, and then complains when he stops. Rich walks about the Morgan with athletic grace, and he gives the impression of a man for whom nothing has ever been complicated.
We have come only from Annisquam and arrive in the early morning. I watch Thomas bend over the stern to snag the mooring. His legs are pale with whorls of brown hair above the backs of his knees. Over his bathing suit, he has on a pink dress shirt, the cuffs rolled to the elbows. It is odd to see Thomas, my husband of fifteen years, engaged in chores upon this boat, a second mate to his younger brother. Without his pen or his books, Thomas seems disarmed, disoriented by manual labor. As I watch him, I think, as I so often do, that my husband looks too tall for his surroundings. He seems to have to stoop, even while seated. His hair, cut longish, now nearly colorless, falls forward onto his forehead, and he pushes it away with a gesture I am fond of and have seen a thousand times. Despite his seniority, or perhaps because of it, I sometimes see that Thomas is unsettled by the presence of Rich and Adaline, as a father might be in the company of a grown son and a woman.
What does Adaline think when she observes Thomas? My husband is a poet of the first tier, already a kind of emeritus at the university, even though he is only forty-seven. Adaline is not a poet, but seems to have great admiration for Thomas's work. I wonder if she knew Thomas's verse before, or if she has learned it for the trip.
When there is time, I read about the islands. I carry pounds of paper in my camera bag—guidebooks, accounts of the murders, a trial transcript—materials from Research, who seem to think that I am writing the piece. When the murders occurred, in 1873, the newspapers wrote of the crime, and later it was called in these same papers "the trial of the century." This is a familiar turn of phrase this summer as we witness a courtroom spectacle that has all but benumbed even the most avid observers. My editor thinks there is a link between the two events: a double murder with a blade, a famous trial, circumstantial evidence that hinges on tiny factual details. As for me, I think the similarities few, but a magazine will make of something what it can. I am paid to take the pictures.
My expense account is lavish, but Rich, who publishes technical journals, will not hear of money. I am glad that Thomas has thought of his younger brother and his boat: I would not like to be in such close quarters with a strange captain or a crew.
How long, I wonder, has Rich been seeing Adaline?
I read many accounts of the murders. I am struck most by the relativity of facts.
When I think about the murders, I try to picture what might have happened that night. I imagine there would have been a gale, and that the wind from the water would have battered against the glass. Sometimes, I can hear that wind and can see the wooden house under the high cirrus of a full moon. Maren and Anethe would have lain on their backs on either side of the double bed—or could it have been that they were touching?—and in the next room, Karen would have called out suddenly with fright.
Or was it that the dog barked first?
Sometimes I imagine the murders to have been a thing of subtle grace and beauty, with slim arms raised in white nightgowns against the fright, white nightgowns against the snow, the rocks sharp and the gale billowing the thin linen like sheets on a line. I see an arm raised along a window, the moon etching smudges on the panes, and a woman calling to another and another, while below them, at the waterline, the waves slap fast and hard against the dory.
I love to watch my daughter move about the boat in her bathing suit, the fabric stretched and limp, riding high over her butt, her body plump and delicious, often salty if I lick her arm. At five, Billie is entranced by the sloop, a space with lots of cubbyholes and clever places to store the few toys she has been allowed to bring along. She sleeps in the quarter berth beside the companionway. Adaline and Rich are in the forward cabin, the owner's prerogative. Thomas and I have less privacy, stowed amidships as we are, in the open, on a bed that is put away each morning to become a breakfast table.
Occasionally I find Billie's sandy footprints down below. Sand in the fridge. Does Rich mind? I think not. Billie's hair has lightened in the sun and curls continuously from the damp. More and more, I notice her enlarged pupils and the way they cause her eyes to appear nearly black. She has extravagantly long lashes that exaggerate every blink. The loss of her two top front teeth has widened her grin and produces a delicate lisp.
In the mornings, I can hear Adaline and Rich in the forward cabin: a rustle of cloth, a murmur, rhythmic movements. The sounds from Adaline are surprising—guttural and sometimes frantic. I begin to anticipate the sounds and to move away from them. I go above to the cockpit in my robe. I wonder if Billie would be afraid if she awoke—afraid that Adaline were being hurt.
I think that Evan, who was Anethe's husband, would have moved urgently toward the door on the morning after the murders, reports of the unthinkable pushing him forward in a kind of frenzy. The high cirrus would have blown out by then, and the sun would have been on the rocks, beginning to melt the snow. Evan would have been the first man inside the door. He would have insisted.
In 1852, Nancy Underhill, a schoolteacher, was sitting on a ledge at Star when a wave washed her into the sea. Her body was found, a week later, at Cape Neddick, in Maine.
This morning, after we have tied up, Adaline stands in the cockpit, her hands at her waist, her eyes searching the shoreline of Smuttynose, as if something profound might reveal itself to her. When she speaks, she has a residue of an Irish accent, and her voice lends her an aura of authority I do not necessarily feel in myself. Her words rise and fall and dip some more, and then come back to where you can hear them—like soft church music, I often think, or like the melodious beat of water on the hull.
Adaline moves like a dancer, swaying for balance. In the mornings, when she comes up the ladder and emerges from the companionway, she seems to glide into the cockpit. She wears long skirts in thin cottons, with blouses that fall loosely around her hips. She wears a gold cross at her throat, jewelry that is somewhat startling in a woman of her age and stature. The cross draws the eye to the hollow above her clavicle, a hollow that is smooth and tanned. It is as though she once wore the cross as a girl and simply forgot to take it off.
Adaline, Rich tells me, works for Bank of Boston, in an international division. She never talks about her job. I imagine her in suits, standing at gates in airports. She has scars on her wrists, slightly crooked vertical threads in smooth flesh, as though she once tried to trace her veins with a razor or a knife. She has an arresting mouth, with full curved lips of even dimensions, and barely any bow at all.
Sometimes I imagine I can see Maren Hontvedt at the end of her life. In the room in which she is sitting, the wallpaper is discolored but intact. She wears an eyelet cap to cover her hair. I note the languid drape of the shawl folding into her lap, the quiescent posture of her body. The floor is bare, wooden, and on the dresser is a basin of water. The light from the window falls upon her face and eyes. They are gray eyes, not yet faded, and they retain an expression that others who knew her might recognize.
I think that she is dying and will be gone soon. There are thoughts and memories that she hoards and savors, holding them as one might a yellowed photograph of a child. The skin hangs from her face in folds, her skin a crushed velvet the color of dried hydrangeas. She was not beautiful as a young woman, but her face was handsome, and she was strong. The structure of her face is still as it was, and one can see the bones as one might be able to discern the outline of a chair covered by a loose cloth.
I wonder this: If you take a woman and push her to the edge, how will she behave?
After we moor the boat, Rich offers to take me over to Smuttynose in the Zodiac. Billie begs to go along. I shoot from the dinghy in a crouch, leaning against the side of the boat for balance. I use the Hasselblad and a telephoto with a polarizing lens. From time to time, I shout to Rich to cut the engine so that the vibrations will be lessened, or I gesture with my hand in such a way that he knows to push the throttle forward.
There are two houses on the island. One is a small, wooden-frame house called the Haley house. It is not habitable, but is of historic note and has a great aesthetic purity. The other is a shack with rudimentary supplies for shipwrecked sailors.
Rich beaches the Zodiac expertly inside the crumbled breakwater of Smuttynose. The beach is tiny, narrow, blackened by dark stones and charred bits of wood. The air is sharp, and I understand why years ago sea air was prescribed as a tonic for the body. Billie removes her life jacket and sits cross-legged on the sand in a lavender T-shirt that doesn't quite cover her belly. Rich is tanned already, an even red-gold on his legs and arms and face. There is a line at his throat. We have left Thomas and Adaline on the Morgan.
In the winter months on the Isles of Shoals, the windows were never opened, nor were the children ever let outside, so that by March the air inside the houses was stale and putrid and old with smoke, and the children could hardly breathe.
Rich takes Billie by the hand and guides her past the breakwater so that he can help her search for mussels among the rocks and put them in her pail. I heft my camera bag onto my shoulder and head out toward the end of Smuttynose. My plan is to turn around and frame a shot of the entire island. At my destination, the easternmost tip of the island, there is a rock shaped like a horse's fetlock. Inside the square-cut boulders is a sheltered space, a sea cave, that sloshes with water when the tide is high. It is slippery on the rocks, but after I have left my camera bag on a dry ledge and anchored it in a crevice so that the wind will not blow it away, I crawl like a crab to the sea cave and squat inside. On three sides of me are the shoals and roiling water, and straight out to the east nothing but Atlantic Ocean. Unlike the harbor and the place where we have landed, this side of the island is unprotected. There is lichen on the rock, and small flies lift in a frenzy whenever a wave crashes and sprays.
At the rock, which is known as Maren's Rock, I shut my eyes and try to imagine what it would be like to huddle in that cave all night in winter, in the dark, in the snow and freezing temperatures, with only my nightgown and a small black dog for warmth.
I crawl from the rock, scraping my shin in the process. I collect my camera bag, which has not moved from its notch. I take a roll of color slide film, thirty-six shots of Maren's rock. I walk the length of the island, the going slow in the thick, scratchy brush.
On January 14, 1813, fourteen shipwrecked Spanish sailors, driven to Smuttynose by a winter gale, tried to reach the light from a candle in an upstairs window of Captain Haley's cottage. They died in a blizzard not forty feet from their destination and are buried under boulders on the island. One man made it to the stone wall, but could go no further. Captain Haley discovered him the following morning. Six more bodies were found on January 17, five more on the twenty-first, and the final body was discovered "grappled up on Hog Island passage" on the twenty-seventh. According to the Boston Gazette on January 18, the vessel, named Conception, weighed between three and four hundred tons and was laden with salt. No one in America ever knew the dead sailors' names.
When I find Rich and Billie, they are sitting on the beach, their toes dug into the sand. I sit beside them, my knees raised, my arms folded around my legs. Billie gets up and stares into her pail and begins to leap in stiff-legged jetés all around us.
"My fingers are bleeding," she announces proudly. "We pulled off a million of them. At least a million. Didn't we, Uncle Rich?"
"Absolutely. At least a million."
"When we get back to the boat, we're going to cook them up for supper." She bends over her pail again and studies it solemnly. Then she begins to drag the pail down to the water's edge.
"What is she doing?" Rich asks.
"I think she's giving the mussels something to drink."
He smiles. "I once read an account of a pilot who said the most beautiful sight he'd ever seen from the air was the Isles of Shoals." He runs his hand over his shaved head. His skull is perfectly shaped, without bumps or dents. I wonder if he worries about sunburn.
"Adaline seems very nice," I say.
"Yes, she is."
"She admires Thomas's work."
Rich looks away and tosses a pebble. His face is not delicate, in the way that Thomas's is. Rich has dark, thick eyebrows that nearly meet in the center. Sometimes I think that he has Thomas's mouth, but he doesn't. Rich's is firmer, more pronounced in profile. "Childe Hassam painted here," he says. "Did you know that?"
"I wouldn't have thought that someone who worked for Citibank would know so much about poetry," I say.
"Actually, it's Bank of Boston." He tilts his head and looks at me. "I think poetry is something that's fairly universal, don't you? Enjoying it, I mean."
"How is Thomas?"
"I don't know. I think he's convinced himself that each poet is given a finite number of words and that he's used up his allotment."
"I notice that he's drinking more," Rich says. Rich's legs are brown and covered with dark hair. Looking at his legs, I contemplate the trick of nature that has caused Thomas and Rich to receive what appear to be entirely separate sets of genes. I glance out toward the sloop, which floats four hundred feet from us in the harbor. The mast teeters in the chop.
"Adaline was married once," Rich says. "To a doctor. They had a child."
I turn to him. He must see surprise on my face.
"I think the girl must be three or four now. The father has her. They live in California."
"I didn't know."
"Adaline doesn't see the girl. She's chosen not to."
I am silent. I try to absorb this information, to put it together with the gold cross and the lilting voice.
"Adaline came over from Ireland for him," he says. "For the doctor."
He leans over and brushes a dried smear of muck from my calf. He smooths my leg with his fingertips. I am thinking that the calf is not a place that anyone touches much. I wonder if he shaves his head every day. What the top of his head would feel like.
"She's kind of detached," he says, withdrawing his fingers. "She doesn't stay with people long."
"How long have you two been together?"
"About five months. Actually, I think my tenure is almost up."
I think of saying to him that to judge by the sounds emanating from the forward cabin, I cannot agree.
In front of us, Billie lies down at the waterline. Mostly, I think, to get sand in her hair. I tense and begin to rise. Rich puts a restraining hand on my wrist.
"She's OK. I've got my eye on her."
I relax a bit and sit back down.
"Did you want something more?" I ask. "From Adaline, I mean."
"She's very beautiful," I say.
Rich nods. "I've always envied you," he says. "You and Thomas."
He puts his hand to his face to shade his eyes, and he squints in the direction of the boat.
"I don't see anyone in the cockpit," I say.
A few minutes later, I take a photograph of Rich and Billie and her pail of mussels. Rich is lying on the small piece of rough beach, his knees raised, dark circles inside the wide openings of his khaki shorts. The eye is drawn to those dark circles. His arms are spread at his sides in a posture of submission. His head has fallen into a depression in the sand, so that his body seems to end at his neck. Billie is standing over him, perfectly bent at the waist, her arms stretched out behind her for balance, like two tiny wings. She is talking to Rich or asking him a question. Rich seems vulnerable under her scrutiny. Beside Billie is her green plastic pail of mussels, perhaps enough to make an appetizer for two. Up behind them both is the Haley house, small and old, the trim neatly painted in a dull brick red.
When I look at the photographs, it is hard not to think: We had seventeen hours then, or twelve, or three.
Immediately after the photograph is taken, Rich sits up. He remembers, he tells Billie, that a pirate named Blackbeard once buried his treasure on the island. He gets up and searches through the scrub, examining this branch and that, until he has made two forked sticks. He sets off with Billie while I wait on the beach. After a time—fifteen minutes, twenty?—I hear a cry from Billie. She is calling to me. I get up to look and then walk over to where she and Rich are standing together, about two hundred feet from the beach. Billie and Rich are bent over a hole they have dug in the sand. In the hole is a treasure: five quarters, two dollar bills, a gold-colored toothpick, a chain with a single key attached, a bracelet made of copper wire, and a silver-colored ring. Rich pretends to read the inscription under the band of the ring. "To E from E with undying love."
"What's 'E to E' mean?" Billie asks.
"Blackbeard's real name was Edward, which begins with E. And his wife's name was Esmerelda, which also begins with E."
Billie ponders this. Rich tells her that the silver ring belonged to Blackbeard's fifteenth wife, whom Blackbeard himself murdered. Billie is nearly levitating with excitement and fright.
The boundaries of the Hontvedt house—also known, before the murders, as simply "the red house"—have been marked with stakes. The boundaries delineate an area approximately twenty feet by thirty-six feet. In this small space were two apartments, separated by a doorless wall. The northwest side of the house had two front doors.
After the brief ride back, I step up onto the Morgan from the Zodiac, Rich catching my hand. Thomas and Adaline are sitting opposite one another, on canvas cushions in the cockpit, seawater dripping from their bodies and making puddles on the floor. They have been swimming, Adaline says, and Thomas seems mildly out of breath.
Adaline has her hands up behind her head, wringing out her hair. Her bathing suit is red, two vibrant wisps of fire-engine red on glistening skin. Her stomach, a lovely, flat surface the color of toast, seems that of a young girl. Her thighs are long and wet and have drops of seawater among the light brown hairs.
She twists her hair and smiles at me. Her face is guileless when she smiles. I am trying to reconcile the image of her smile with the frantic, guttural sounds that emanate in the morning from the forward cabin.
I remember these moments not solely for themselves, but for the knowledge that beyond these memories lies an instant in time that cannot be erased. Each image a stepping stone taken in innocence or, if not in innocence, then in a kind of thoughtless oblivion.
Rich goes immediately to Adaline and puts a proprietary hand on the flat of her belly. He kisses her on the cheek. Billie, too, takes a step forward, drawn to beauty as any of us are. I see that Billie will find a reason to drape herself across those long legs. With effort, Thomas keeps his eyes on me and asks about our small trip. I am embarrassed for Thomas, for the extraordinary whiteness of his skin, for his chest, which seems soft. I want to cover him with his blue shirt, which is lying in a puddle.
On March 5, 1873, approximately sixty people lived on all the islands composing the Shoals: the lighthouse keeper's family on White; workmen building a hotel on Star; two families—the Laightons and the Ingerbretsons—on Appledore (formerly known as Hog); and one family, the Hontvedts, on Smuttynose.
We run the Zodiac into Portsmouth. We are hungry and want lunch, and we don't have much in the way of provisions. We sit in a restaurant that has a porch and an awning. It seems as close to the water as one can get in Portsmouth, though I think there is not much to look at beyond the tugs and the fishing boats. A sharp gust of wind catches the awning and lifts it for a second so that the poles that anchor it come off the ground as well. The awning tears loose at one corner and spills its wind. The canvas flaps in the breeze.
"The heavens rent themselves," Thomas says.
Adaline looks up at him and smiles. "Uncovered orbs and souls."
Thomas seems surprised. "Mullioned waters," he says.
- On Sale
- May 30, 2009
- Page Count
- 256 pages
- Little, Brown and Company