60 pages • 2 hours read
Christina Baker KlineA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Hazel cannot get the memory of Evangeline falling overboard out of her head. The events run quickly together—Buck’s shove, her screams, Doctor Dunne preparing to jump overboard to save Evangeline until the captain forbids him from doing so. For years after, Hazel dreams of Evangeline sinking beneath the waves. But Evangeline’s baby still exists, and Hazel and Doctor Dunne work together to care for the little girl. Knowing Olive just lost her own baby, Hazel brings her in as a wet nurse to give the girl the best chance at survival. Doctor Dunne allows them to stay on the surgical floor until they reach Hobart Town.
It surprises Hazel that she misses Evangeline so much—because she barely knew her—but “Evangeline was the only person in her life who had been wholly kind” (204) to her. No one else had shown Hazel any type of love or affection in her life—even her own mother. She feels a pull to care for the child because they are both alone.
Though Buck tries to claim self-defense, Doctor Dunne and Hazel both stand up for Evangeline. The captain sentences Buck to 30 lashes and the remainder of his time at sea spent in the hold. Meanwhile, Hazel, Olive, and Doctor Dunne fall into a routine pattern of care for the infant. While Doctor Dunne initially seems reluctant to let Hazel help with the child’s medical care, he eventually begins speaking to her about his own patients and “even ask[s] her opinion on their treatment” (208).
One evening, he tells Hazel that the baby must be given a name. Though he suggests “Evangeline,” Hazel refuses. The next morning, she takes Evangeline’s tin ticket necklace with her number on it from the surgeon’s quarters and slowly makes her way back to their old berth. She pries open the loose board over her hiding spot and takes out Cecil’s handkerchief. Once back in the surgeon’s quarters, she looks at both of these items—the simple cloth that “had been the locus of Evangeline’s hopes and dreams” (209) and the small numbered tin ticket that became the result of those hopes and dreams. She folds them both together to give to the infant one day and decides to call the girl Ruby.
After four months at sea, the Medea finally reaches Van Diemen’s Land. As the convicts prepare their personal items, Dunne reminds Hazel that he needs to fill out Ruby’s birth certificate. If he puts her down as the baby’s mother, Hazel can visit Ruby in the prison nursery. She agrees, although it feels strange to her, but Dunne reminds her that she has “earned the right to call [herself Ruby’s] mother” (212).
Before the women can make their way to land, they must be inspected by other doctors and quizzed about their skills and aptitudes to place them for work purposes. Dunne speaks on Hazel’s behalf and recommends that she be placed in the nursery due to her capabilities in a medical setting. As they wait for the skiff to take them to the mainland, Dunne gives Hazel a copy of Shakespeare’s play The Tempest, which Evangeline was using to teach Hazel how to read.
As Hazel and Olive sit in the small rowboat ferrying them across, Hazel notices Buck being led down the ramp towards the skiffs. She nudges Olive, who remarks that they should have killed Buck when they had the opportunity.
Hazel and the rest of the women stumble as they walk onto the dock, unaccustomed to being on solid ground. As they make their way across the wharf, large groups of men begin leering at them and grabbing at their skirts while making inappropriate sexual comments. They walk for what seems like hours, hungry and thirsty, startled by the odd animals that make no sense to them—the kangaroos and the emus. Finally, the large, imposing figure of their new prison rises before them.
Once all the women enter the prison, called the Cascades Female Factory, the superintendent, Mr. Hutchinson, comes forward to speak to them. He goes over their strict schedule and routine along with all the rules and protocols for staying there. A few women, who are well-behaved and presentable, will leave the Cascades “to work in free settlers’ homes and businesses” (221). They break for lunch, and Hazel spits the disgusting broth back into the bowl.
After lunch, the women wait in a line to see a doctor once more. He goes over their vitals and discusses with them their preferred line of work. Because his office is understaffed, he allows Hazel to stay on in the nursery, but to her dismay, he takes Ruby from her. Ruby must stay alone in the nursery from here on out. Though Hazel protests, the doctor reminds her that she “relinquished that right…when [she] committed [her] crime” (223). She hands Ruby over to him reluctantly and leaves.
The required church service that evening proves to Hazel why she was never a religious person. The pastor talks of their “depraved and vicious habits” (225) and calls upon them to make their lives decent once more. Unfortunately, the night gets no better—the women are forced 12 per cell into hammocks crawling with fleas with the smell of urine, blood, and feces permeating their nostrils. Hazel sits on her moldy hammock and thinks of Ruby, all alone. She pulls out Evangeline’s tin ticket necklace and puts it on to feel closer to Ruby.
As she walks to her first day of work in the nursery, Hazel ponders her early life back in Scotland. It wasn’t easy—poor living conditions and child labor kept most children her age from ever progressing. Still, she misses those hours spent working alongside her mother, learning from her and sharing intimate moments with her. Hazel quickly angers when she thinks of how her mother’s silence put her in these horrible conditions.
The nursery reeks of vomit and feces. The children, most kept in cages, peer out at Hazel as if asking for help. She finds Ruby and sees that her diaper is full of greenish waste. The infant is silent, like all the others. The designated wet nurse comes to feed Ruby, but because she has to nurse four other babies as well, she does not let Ruby feed very long. That night, Hazel begs Olive to come back and nurse Ruby once again. Olive initially refuses, but Hazel asks her to do it for Evangeline. The next morning, Olive is waiting to walk to the nursery with Hazel.
As they move toward the nursery, Hazel spies some sage growing wild near the road and runs over to pick some, intending to make a poultice for rashes on the babies. A woman behind them asks why Hazel is picking sage, and when Hazel responds, the woman reveals that she, too, is a midwife. Her name is Maeve Logan, an Irish woman accused of being too outspoken and mouthy. When her landlord died a day after she “cursed him for starving his tenants” (232), she was sentenced to seven years labor. Over the next few weeks, Maeve teaches Hazel about all the different plants and herbs native to Australia and how to use them in healing doses. She also warns her of the dangers of many of these native plants—including the Angel’s trumpet, a name so given because “it’s the last thing [anyone] will see before ascending into heaven” (233).
Months go by, and eventually, the nursery doctor forcibly weans Ruby from Olive’s breast. Hazel remains very careful in her words and actions so she can stay in the nursery: “Nothing else matter[s]” (237) to her besides staying alive and keeping Ruby alive.
One morning, Hazel arrives at the nursery to find Ruby gone. She has been sent to the Queen’s Orphan School four miles away. This sudden change devastates Hazel, but the guard tells her that Hazel can visit Ruby every Sunday. When Hazel visits the following Sunday, she finds bruises and scabs on Ruby’s arms and legs.
With Ruby no longer in the nursery, Hazel decides to join the other women who are eligible for placement in good homes as housemaids. She lines up with all the other women one morning to await the arrival of the housekeepers from fine homes who come looking for word. This morning, Mrs. Crain, the housekeeper for the governor of Hobart Town—Sir John Franklin—chooses Hazel to come work with her. They travel by carriage to the Government House, and Mrs. Crain shows Hazel to the quarters of the servants. The other maids there speak of the native girl who lives with the Franklins as a “strange kind of experiment” (243) as a whim of Lady Jane Franklin. Hazel is curious to meet the child.
The next few weeks at the governor’s house are filled with menial labor and keeping up the household. Every day is just another day on the way to Sundays when she can see Ruby again. She collects scraps of cloth so that she can use them to make a quilt for Ruby. One morning, as she sweeps the hearth, she overhears Lady Franklin say that Sir John has invited a guest for dinner—a Doctor Caleb Dunne. The rest of her words shock Hazel—Dunne “recently moved to Hobart Town and set up a private practice” (247). Though she offers to stay to help with the dinner, Mrs. Crain sends her back to the Cascades.
Every Sunday, Hazel travels to the Orphan School, but Ruby becomes “indifferent, examining Hazel coolly under her eyelashes” (248). Their time apart takes a toll on Ruby’s memory of Hazel, and she treats her “like a benevolent stranger” (249), which breaks Hazel’s heart. As she returns to the Cascades one night, Olive warns her that the other prisoners think Hazel is getting special treatment.
This segment of Hazel’s journey contradicts the opening quote of this section—that women are the “most worthless and abandoned of human beings” (197). Rather, Hazel proves in these chapters that she is a loyal and trustworthy friend. She takes Evangeline’s last words to her seriously—in Evangeline’s absence (and death), Hazel vows to do whatever she can to save Ruby.
Once again, Doctor Dunne proves to be the outcast of the men on board the ship. When the captain and other crewmen refuse to jump in to “risk [their lives] for a convict” (199), Dunne feels worthless and helpless. He makes it his mission to help Hazel save the life of Evangeline’s daughter. In addition, once on land, the women face more men who objectify them for their bodies. However, Dunne rises to the occasion by gifting Hazel with a treasured memento—a copy of The Tempest. His pseudo-flirtatious comment—“perhaps I shall get it back one day” (215)—foreshadows their eventual relationship.
For her part, Hazel’s flashbacks to her old life with her mother give her motivation to fulfill the true role of a mother. Though Ruby is not her actual child, Hazel’s mother’s inadequacies prompt her to be the exact opposite for Ruby. Therefore, she, Dunne, and Olive become de facto parents to the child, all working together as substitute parents to keep Evangeline’s memory alive. Hazel’s forced separation from Ruby as she is taken to the Orphan School drives yet another stake into the rights of women in this time period. In Victorian England, a woman had no rights to her own children, even if she birthed them herself. That, combined with the general overall treatment of children during this period, explains why no one seems to care that Ruby is covered in bruises and scabs, constantly at risk of death.
These chapters also mix together the stories of Mathinna and Hazel. Now, there is an outside perspective on Mathinna’s treatment while at Government House. However, the musings of the other housemaids already speak the truth—Mathinna is being treated as a form of amusement, a mere whim of Lady Jane’s meant to elevate her in the eyes of her friends.
By Christina Baker Kline
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