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Straight - A Million Nightingales

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    A Million Nightingales
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The tale of a slave girls journey, emotional and physical, from captivity to freedom in 19th century Louisiana.

Straight: author's other books


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Acclaim for Susan Straights A MILLION NIGHTINGALES Heart-wrenching A powerful - photo 1

Acclaim for Susan Straight's
A MILLION NIGHTINGALES

Heart-wrenching. A powerful depiction of slavery that haunts the reader long after the book has been closed.

Daily Camera (Boulder)

From the first beautiful sentence, I felt transported to a world as vivid as the one outside my window. Moinette is one of those rare characters who enlarges both our sense of history and our humanity.

Judith Freeman, author of Red Water

A beautiful, masterful novel. This may be the most insight ful book yet written from the point of view of a woman in slavery.

Deseret News (Salt Lake City)

Poetic but fierce, this is Susan Straight's most ambitiousand successfulnovel yet.

Vendela Vida, author of And Now You Can Go

Ambitious. A story about triumph over adversity, but it's also one that understands the distinction between magnanimous kindness and its far less showy cousin, basic human decency.

Los Angeles Times

An extraordinary achievement, fascinating, horrifying, disturbing, a tribute to the power of the human spirit. It lingers in the mind, unfading, haunting.

Shirley Ann Grau, author of The Keepers of the House

An amazing novel. No cultural historian has more accurately revealed the laws, customs, beliefs, and language of antebellum Louisiana. No other novelist has used cultural realities to motivate characters that seem more real, to tell a story that is more affecting. While Moinette's story could have happened only in that place and time, Straight has not only made it feel real there and then but has also made it connect with here and now.

David Bradley, author of The Chaneysville Incident

Audacious. The great strength of A Million Nightingales is Straight's unsentimental apprehension of the no-win system that was slavery, and the subtle ways it was designedintelligently designedto pervert every natural feeling, every impulse of generosity, of community, of familial loyalty.

Chicago Tribune

In all of her novels, Susan Straight has given voice to characters whose struggles for dignity and love have been fought on the twentieth-century battleground of race; with A Million Night ingales she digs even deeper into our common ground. But it is love and humanity, not race, that ultimately gives such wrench ing power to A Million Nightingalesa beautiful, redemptive novel.

Kate Moses, author of Wintering

SUSAN STRAIGHT
A MILLION NIGHTINGALES

Susan Straight is the author of five previous novels, including the bestselling I Been in Sorrow's Kitchen and Licked Out All the Pots, and Highwire Moon, which was a finalist for the National Book Award and won the California Book Award. She is a regular commentator on NPR, and her fiction and essays have appeared in Harper's Magazine, Salon, Zoetrope, McSweeney's, and The Best American Short Stories, among many other publications. She has received a Lannan Foundation Award and a Guggenheim Fellowship. She lives in Riverside, California, with her three daughters.

also by susan straight

Aquaboogie: A Novel in Stories

I Been in Sorrow's Kitchen and Licked Out All the Pots

Blacker Than a Thousand Midnights

The Gettin Place

Highwire Moon

For my mother and her mother Frieda For Fine Callie Daisy Alberta and - photo 2

For my mother
and her mother, Frieda

For Fine, Callie, Daisy, Alberta, and those unnamed
the other foremothers of my own daughters
and all who came before them

I have a million nightingales on the branches of my heart singing freedom

From a folk song adaptation of the poem
Defiance, by Mahmud Darwish

CONTENTS

One

Two

Three

Four

Five

Six

Seven

Eight

Nine

Ten

Eleven

Twelve

One AZURE

In late summer, I collected the moss with the same long poles we used to knock down the pecans in fall. I waved the pole around in the gray tangles and pulled them down from the oaks on the land beside the house, not far from the clearing where we washed and sewed.

I couldn't take the moss from the two oaks in front of the house, where the windows faced the river, because Madame Bor-delon liked to look at that moss. It was a decoration. She watched me from the window of her bedroom. Everything on the front land at Azure was Madame's, for decoration. Everything in the backlands was Msieu Bordelon's, for money.

And meshe stared at me all the time now. She stared at my hair, though she couldn't see it. My hair was wrapped under the black tignon my mother had made last year for me, when I turned thirteen. I hated the weight on my skull. My hair was to be hidden, my mother said. That was the law.

The cloth at my forehead felt like a bandage. Like it was holding in my brain. A brain floated in Doctor Tom's jar, in the room where he always stayed when he came to treat Grandmre Borde-lon, for her fatness, and where he stayed now to treat Cphaline, for her face. The brain was like a huge, wrinkled, pale pecan. One that didn't break in half. Swimming in liquid.

When I came for his laundry, he sat at the desk and the brain sat on the shelf, with the other jars. He said, You can hold it.

The glass was heavy in my hands, and the brain shivered in the silvery water.

I bought that brain in 1808, yes, I did, and it's been two years in the jar after spending several years inside a skull. You seem unafraid to hold it or examine it, Moinette, he said in English. He was from London, and his words made his thin lips rise and twist differently from Creoles. Your lack of fear would indicate that your own brain is working well. Then he returned to his papers, and I took his dirty clothes away.

How could brains be different? I measured heads the same way Mamre had taught me to measure a handful of fat to throw in the pot for soap, cupping my palm; the heavy handful had to reach the second bend on my fingers. The other side of knucklesthe little pad of skin like oval seed pearls when a person held out a hand to get something. I stared at my palms so long, clenching and straightening them, that Mamre frowned and told me to stir the soap. At the edge of the canefield when the cutters were resting, I hid myself in the tall stalks and fit my bent fingers over their heads. The grown people's heads wore hats and tignons, but the skulls were nearly all the same size under my curved hand. It was not exact, though. I made a loop of wire from a scrap and measured Michel's head when he was in the cane. He was a grown man, same as Msieu Bordelon.

The cutters held very still when they rested. Their backs were against the wagon wheels and the trees.

When I took clean laundry to the house, I stood near the dining room and quickly measured those heads at the table. The same loop for Msieu's head, the only time he didn't wear his hat, while he was eating.

All our heads were the same size according to our age and sex: mine and Cphaline's, Mamre and Madame's, the men cutting cane and Msieu Bordelon's. Under their hair, all their skulls were the same, and so the pecan brains floating inside that bone would be the same size unless the head was wrong, like Eveline's baby who died. The baby's head was swollen like a gourd grows in summer when it's watered too much and then splits.

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