76 pages • 2 hours read
Summary
Chapter Summaries & Analyses
Character Analysis
Themes
Symbols & Motifs
Important Quotes
Essay Topics
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Each numbered part carries a different quilt pattern name. Each part contains one or more chapters and begins with two or more quotations from various sources. The quotations come from contemporaneous nineteenth-century newspaper accounts, Susanna Moodie’s retelling of events in her book Life in the Clearings (1853), Grace’s or James’s confessions, or literature of the period. Each quotation relates obliquely to the material contained in that part.
Grace Marks is walking around the prison yard in April 1851; she is 23 years old and has been in the prison since she was 16. As she walks, she describes a visual hallucination: she sees red peonies bloom from the gray gravel of the prison yard. When she reaches out to touch one, she discovers it’s made of cloth. Next, she sees Nancy kneeling in the yard, wearing Grace’s white cotton kerchief printed with a blue love-in-a-mist pattern. Blood and hair cover her eyes, and Nancy reaches out to Grace for mercy. This time, Grace says, she will help Nancy, wipe off the blood, and bandage her wounds, and none of it will have happened. She imagines Thomas Kinnear coming home in the afternoon and asking for coffee after his journey, and Jamie Walsh playing his flute at night. As Grace keeps walking, Nancy breaks apart and the red petals scatter.
The chapter consists of long poem describing the murder of Thomas Kinnear and Nancy Montgomery at Richmond Hill by James McDermott and Grace Marks, the trials of James McDermott and Grace Marks, and the hanging of McDermott. In this poem, the reader learns that Grace was only 16 years old when the murders took place. The motive for the murders is jealousy and love. Grace’s love for Thomas Kinnear and her jealousy of Nancy Montgomery cause her to incite James McDermott to kill Nancy by promising him sexual favors in return. Out of love for Grace, James kills Nancy. In a fit of revenge after Grace rejects him, he kills Grace’s love, Thomas Kinnear. Nancy was Thomas Kinnear’s housekeeper and his mistress; she was also pregnant when she was killed. Once Thomas and Nancy were dead, the two culprits robbed Kinnear of his valuables and ran away across the border to the United States. They were caught by a Canadian magistrate in Lewiston and brought back to Canada to stand charges. James McDermott blamed everything on Grace. They were both convicted of Thomas Kinnear’s murder and sentenced to death. McDermott was hanged, while Grace’s sentence was converted to life in prison.
In 1859, Grace sits in the prison Governor’s parlor, waiting for a doctor who is writing a book about criminals. She works in the Governor’s house as a housemaid and seamstress, and this is the first time she has been allowed to sit on the furniture. Woven into her description of her current situations are repeated references to people she has known in the past, including Mary Whitney and Mrs. Alderman Parkinson. She describes the frequent guests, mostly ladies in various reform and spiritualist movements. Grace is frequently shown to the guests as a curiosity, because she is a murderess.
Grace muses about all of the contradictory identities that others have placed upon her: demon, innocent dupe of a male “blackguard,” too ignorant to hang, an idiot, cunning and devious, a good girl (23).
Grace describes the Governor’s two daughter’s scrapbooks, which are full of feminine fripperies, such as fabric scraps and sentimental verses written by friends. In contrast, the Governor’s wife’s scrapbook contains sensational newspaper clippings describing criminals and their infamous crimes, including Grace.
Grace is afraid of doctors, though this doctor is only going to measure her head. The doctor comes in. When he opens his black bag to pull out an instrument, Grace imagines he’s pulling out a knife and she screams because she believes this is a doctor she has seen before with his “bagful of shining knives” (29).
Someone throws cold water on Grace to revive her, and the prison Matron is called to help stop Grace’s hysterical fit. She slaps Grace, which stops her. They take her back to the prison in disgrace, as she has frightened everyone with her fit. The doctor had no knives, only calipers.
Grace describes the cell where they have put her until they decide whether she needs to go back to the insane asylum. She was judged to be mad seven years ago and spent time in the asylum. Grace insists that many of the women in the asylum were “no madder than the Queen of England” (31). Some women were only “mad” when drinking or when pretending madness to escape a bad home life or starvation. Others were genuinely mad, such as the woman who had lost all of her family to famine and disease, and one who had killed her child. Grace showed spirit by biting Dr. Bannerling, the asylum director, when he touched her breast under the guise of “examining” her. Eventually, the authorities return Grace to the prison.
She imagines the red flowers blooming on the walls and falls asleep. She is left in solitary confinement for two or three days. Finally, someone knocks on the door.
Dr. Simon Jordan enters Grace’s cell. Grace describes him: he is about her age, tall and slender, dressed well but in worn and rumpled clothing, and when she hears him speak, she knows that he is American. Grace pretends to be dull-witted, because she wants to figure out what he wants from her. He tells her that he is a different kind of doctor, and he pulls an apple out of his pocket and gives it to Grace. He asks her what she thinks of when she sees an apple. She answers him stupidly, again hiding what she really thinks and knows. He explains that he is a doctor who studies minds and diseases of the mind, brain, and nerves and that he wants to help her. He promises that if she continues to talk with him and doesn’t become violent, she will not be sent back to the asylum. Grace agrees to talk with him.
The reader knows from Grace’s introduction in Chapter 1, when she hallucinates red peonies in the prison yard, that she cannot be a reliable narrator. However, her voice and descriptions are compelling, full of detail and wry humor, and readers find themselves drawn into her world and her point of view whether or not they want to. Grace’s musings in the parlor establish significant characters in the novel, including the murder victims Nancy Montgomery and Thomas Kinnear and her partner in crime and possible lover, James McDermott. Other characters, such as Jeremiah the peddler, also come into the story here, though the reader does not learn the significance of these names until later. The motif of the color red and its association with flowers, blood, butchery, or meat, established with Grace’s hallucination of the red peonies in Chapter 1, threads through the novel.
The theme of discerning lies from truth appears in Chapter 3. Grace is incensed over the lies told about her during her trial and afterward, particularly the lies that she is stupid and that she was James McDermott’s “paramour” (27). She believes that people are primarily interested in whether she was James McDermott’s lover, not in whether she murdered anyone. Her point of view seems valid. The reader is inevitably pulled into her world and toward believing her version of events, despite the fact that the veracity of Grace’s point of view, as a narrator, is questionable from the first chapter of the novel.
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By Margaret Atwood