Cane River Part 1

Cane River.

by Lalita Tademy.

Dedicated to my mother, Willie Dee Billes Tademy

AUTHOR'S NOTE

M y great-grandmother Emily died in bed at her Louisiana home at the end of the summer of 1936, with $1,300 in cash hidden under her mattress. Although she pa.s.sed away twelve years before I was born, her presence is firmly imprinted in our family lore. Neither my mother nor her brothers ever talk about Emily without a respectful catch in their throat, without a lingering note of adoration in their tone. y great-grandmother Emily died in bed at her Louisiana home at the end of the summer of 1936, with $1,300 in cash hidden under her mattress. Although she pa.s.sed away twelve years before I was born, her presence is firmly imprinted in our family lore. Neither my mother nor her brothers ever talk about Emily without a respectful catch in their throat, without a lingering note of adoration in their tone.

I've been told that Great-Grandma 't.i.te (Emily's nickname, rhymed with "sweet") was very beautiful, and this is verified by the four photographs I have of her, two of which hang on the wall of my home in California. She was full of life into her seventies, dancing alone in the front room of her Aloha farmhouse on Cornfine Bayou to the music from her old Victrola, high-stepping and whirling to the cheering-on of family gathered on Sunday visiting day. Always, at the end of her performance, she would arch her spine and kick back one leg, little booted foot suspended in air beneath her long dress until the clapping stopped. It was her trademark move. My mother and all of the other surviving grandchildren remember this vividly. Laughter and fun surrounded Grandma 't.i.te, they say, describing the flawless skin, thick chestnut hair, high cheekbones, thin sharp nose, and impossibly narrow waist. My mother has said to me often, each time with a proud, wistful smile, "She was an elegant lady, like Jacqueline Bouvier Kennedy."

I always found this last statement impossible to embrace. I now know that Emily Fredieu was born a slave in 1861, lived deep in the secluded backcountry of central Louisiana, dipped snuff, and drank homemade wine every day, insisting that all visitors, even children, drink along with her. She bore five children out of wedlock over the thirty-plus-year span of her liaison with my great-grandfather, a Frenchman. Interracial marriage wasn't against the law for all of the time they were together, but it was dangerous and against custom for a colored woman, even if she did look white, and a white man to be together. My great-grandmother Emily was color-struck. She barely tolerated being called colored, and never Negro. My mother, the lightest of the grandchildren, with skin white enough to pa.s.s if she chose, was a favorite of hers. It is difficult to reconcile these facts and confirm my mother's judgment of "elegant."

I was always unsympathetic to the memory of Emily because of her skin color biases, although I never dared say so to my mother. But at the same time I was envious of Emily's ability to stare down the defeats of her life and aggressively claim joy as her right, in ways I had never learned to do.

Emily fascinated me for years, an untapped mystery, but my life was too busy to dwell on impractical musings with no identified purpose. I loved my world, jolting awake every morning, impatient to begin the day, savoring the next deal, the next business to build or turn around, the next promotion. For two decades I had hoisted myself upward, hand over hand up the corporate ladder, until I was a vice president for a Fortune 500 high-technology company in Silicon Valley. The position brought all-consuming work, status, long hours, and stock options. But every so often, while reviewing strategic businesses in small, airless rooms, I found myself secretly thinking about Emily, who she was, how she came to be. During budget reviews my mind would drift to Emily's mother, Philomene, about whom I knew so little, only as a name in a brief two-page family history written twenty years before by a great-cousin and sent to me by my uncle. I began to develop a nagging and unmanageable itch to identify Philomene's mother, to find out if she lived on a plantation as someone else's property, a slave, or if she had been free.

In 1995, driven by a hunger that I could not name, I surprised myself and quit my job, walking away from a coveted position for which I had spent my life preparing. Crossing back and forth from California to Louisiana, I interviewed family members and local historians, learning just how tangled the roots of family trees could become.

I scanned doc.u.ments until headaches drove me from moldy bas.e.m.e.nts where census records or badly preserved old newspapers from the 1800s and early 1900s were stored. In a.s.sorted Louisiana courthouses I waded through deeds, wills, inventories, land claims, and trial proceedings. Joining the Natchitoches genealogy society led me to some private collections, including letters. The search for my ancestors moved beyond a pastime and became an obsession.

A series of discoveries challenged what I thought I knew about Louisiana, slavery, race, and cla.s.s. I thought Creole meant mixed-race people, black and white, but was informed in clipped tones that Creoles were only the white French-speaking descendants of the early French settlers, a sn.o.bbish distinction that clearly separated them from the black families the Creole men created "on the side," as well as elevating them above their lower-cla.s.s French-speaking Cajun cousins. I discovered that most plantations were not like the sprawling expanses of Tara in Gone With the Wind Gone With the Wind but were small, self-contained communities, surrounded by farms that were smaller still. I discovered that the horrifying inst.i.tution of slavery played out in individual dramas as varied as there were different farms and plantations, masters and slaves. but were small, self-contained communities, surrounded by farms that were smaller still. I discovered that the horrifying inst.i.tution of slavery played out in individual dramas as varied as there were different farms and plantations, masters and slaves.

As I tightened my search for Philomene's mother, the trail led to Cane River, a complex, isolated, close-knit, and hierarchical society whose heyday was in the early 1800s. It was a community that stretched nineteen miles along a river in central Louisiana where Creole French planters, free people of color, and slaves coexisted in convoluted and sometimes nonstereotypical ways. In Cane River the free people of color, or gens de couleur libre, gens de couleur libre, had acc.u.mulated a great deal of land and wealth and were just as likely to be slave owners as their white neighbors. had acc.u.mulated a great deal of land and wealth and were just as likely to be slave owners as their white neighbors.

As a child I had spent many muggy summers in Colfax, a small country town not far from Cane River where both my parents grew up. The road trip there took days, with me sandwiched in tight between my brother and sisters in the backseat of our 1951 Ford, riding cross-country from California to Colfax for our annual two-week stay in July. In 1978 my father and I took a Roots Roots trip to Louisiana, my first time to go back by choice. My mother sent me off with a "must talk to" list for her side of the family, and it included an elderly great-cousin living in Shreveport, Louisiana. My father drove us the hundred miles from Colfax, and we were eagerly welcomed into the home of a large, light-skinned woman with dark, piercing eyes. I still remember those eyes. Cousin Gurtie lived alone and radiated something almost touchable-a relish for life, an intensity, an undefeatable spirit. She was chatty, but her mind wandered, one minute talking about her shoelaces and what she had for breakfast, the next spinning tales of distant ancestors, grisly murders, suicides, and forbidden love. I a.s.sumed she exaggerated for effect, but I was hooked. It wasn't until sitting down to write this author's note twenty-two years later that I realized she was the same woman who had produced the two-page typewritten family history I relied on so heavily in trying to re-create my family's past. She had not exaggerated. trip to Louisiana, my first time to go back by choice. My mother sent me off with a "must talk to" list for her side of the family, and it included an elderly great-cousin living in Shreveport, Louisiana. My father drove us the hundred miles from Colfax, and we were eagerly welcomed into the home of a large, light-skinned woman with dark, piercing eyes. I still remember those eyes. Cousin Gurtie lived alone and radiated something almost touchable-a relish for life, an intensity, an undefeatable spirit. She was chatty, but her mind wandered, one minute talking about her shoelaces and what she had for breakfast, the next spinning tales of distant ancestors, grisly murders, suicides, and forbidden love. I a.s.sumed she exaggerated for effect, but I was hooked. It wasn't until sitting down to write this author's note twenty-two years later that I realized she was the same woman who had produced the two-page typewritten family history I relied on so heavily in trying to re-create my family's past. She had not exaggerated.

When I quit my job in 1995 I hired a genealogist to help with the search for Philomene's mother. It took her two years before she found the bill of sale in a private collection of French plantation records that positively identified Suzette as Philomene's mother. Only then was I sure that my ancestors were not free people of color. They were three generations of slaves owned by Francoise Derbanne, a Creole widow whose husband left her a medium-size plantation in Cane River, Louisiana. It was then that I resolved I would not allow Suzette or her family to be lost from memory again.

Revealed bit by bit from mounds of doc.u.ments and family stories, I connected the line backward between these women of my family, daughter to mother. From Emily, back to Philomene, to Suzette and Elisabeth. They were not Mammy or Jezebel or Topsy, the slave images made safe and familiar in Gone With the Wind Gone With the Wind tradition. They were flesh-and-blood women who made hard choices, even in oppression. tradition. They were flesh-and-blood women who made hard choices, even in oppression.

Emily's mother, Philomene, came to life before any of the others. She visited my dreams, urging me to tell their stories. No, "urging" is too tame a word, too remote. Philomene demanded demanded that I struggle to understand the different generations of my family and the complexities of their lives. She made it unacceptable that any of them be reduced or forgotten. It defies description in words, this bond I have with Philomene and her ability to reach across four generations to me with such impact. There were demanding days in the beginning when I feared her, a shapeless apparition, usually in the aftermath of her unrelenting hand at my back and the unnerving certainty of her voice in my ear. But the fear was always tempered with respect. that I struggle to understand the different generations of my family and the complexities of their lives. She made it unacceptable that any of them be reduced or forgotten. It defies description in words, this bond I have with Philomene and her ability to reach across four generations to me with such impact. There were demanding days in the beginning when I feared her, a shapeless apparition, usually in the aftermath of her unrelenting hand at my back and the unnerving certainty of her voice in my ear. But the fear was always tempered with respect.

Gurtie Fredieu, circa 1928. Said to look like her grandmother Philomene.

This book is a work of fiction deeply rooted in years of research, historical fact, and family lore. The details of Cousin Gurtie's accounting weren't always supported by other doc.u.ments I uncovered. Some dates were off, some facts twisted, but I found that each precious line of her carefully typed history had at its base at least a grain of truth, and a family story had arisen around it. Many official and historical doc.u.ments had inaccuracies in them as well. The challenge was to marry all of the data. In piecing together events from personal and public sources, especially when they conflicted, I relied on my own intuition, a sometimes intimidating undertaking when I felt Philomene's judgmental presence over my shoulder. There were gaps I filled in based on research into the events and mood of the place and time. I presupposed motivations. Occasionally I changed a name, date, or circ.u.mstance to accommodate narrative flow. I hope I have captured the essence of truth, if not always the precision of fact, and that liberties I have taken will be forgiven.

I hope you can put some of these things together better than I did, you may have heard that my Brother or I did not finish School or no one tought me one thing about Typen.but that I know I know it, Smile. My G.o.d have blessed me to be here my three scores and ten.--Cousin Gurtie Fredieu, in a letter recording our family history written in 1975

PART ONE.

Suzette

1.

CANE RIVER , LOUISIANA-1834

O n the morning of her ninth birthday, the day after Madame Francoise Derbanne slapped her, Suzette peed on the rosebushes. Before the plantation bell sounded she had startled awake, tuned her ears to the careless breathing of Mam'zelle above her in the four-poster bed, listened for movement from the rest of the sleeping household, and quietly pushed herself up from her straw pallet on the floor. n the morning of her ninth birthday, the day after Madame Francoise Derbanne slapped her, Suzette peed on the rosebushes. Before the plantation bell sounded she had startled awake, tuned her ears to the careless breathing of Mam'zelle above her in the four-poster bed, listened for movement from the rest of the sleeping household, and quietly pushed herself up from her straw pallet on the floor.

Suzette made her way quickly down the narrow hall, beyond the wall altar, and past the polished mahogany grandfather clock in the front room, careful to sidestep the squeaky board by the front door. Outside on the gallery, her heart thudded so wildly that the curiosity of the sound helped soften the fear. Her breath felt too big for her chest as she inched past the separate entrance to the stranger's room and around to the side of the big house where the prized bushes waited.

Barefoot into the darkness, aided only by the slightest remnant of the Louisiana summer moon, she chose Madame's favorite, a sprawling rosebush with delicate pale yellow flowers and visible roots as long as her father's fiddling bow.

The task didn't take long, going and coming back, and Oreline's breathing was still soft and regular when Suzette slipped back onto her makeshift mattress at the foot of the bed. The only evidence that Suzette had been gone at all was a thin, jagged scratch on her bare arm from a thorn she hadn't seen in the darkness.

The day before had started with midsummer Louisiana predictability, so smotheringly hot that the spongy air seemed to push down on Suzette as she hurried to the cookhouse after church. Once there, she slipped a clean ap.r.o.n over her good dress, a loose-fitting dark calico with a yoke neck, one of Oreline's last-season castoffs her mother had altered to fit the girl's small body. Her mother had left room in the dress for a growth spurt. Every last item of Suzette's clothing from undershift to leggings and shoes had first belonged to her mam'zelle. Although the girls were the same age, Oreline was taller than Suzette by half a head. They made an odd pair, the pale white girl, long legged and gangly as a young colt, and her tiny cocoa-colored nurse, Suzette, with skin like strong coffee after the splash of cream. Suzette's eager smile showed off a gap between her two front teeth. The s.p.a.ce was almost the width of a full kernel of corn, and Suzette used it to give more force to her whistle. It came in handy for calling chickens or pigs or for impressing Oreline and Narcisse when they ran the woods together in play.

The added heat from the blazing cookhouse fires made Suzette's dress stick to her as she worked the paddle of the b.u.t.ter churn. Built at a distance from the main house because of the risk of fire, the cookhouse belonged to the Derbannes, along with the cotton and cornfields, the swamplands, the facing rows of eight slave cabins in the quarter, four on each side, and every other living thing on Rosedew, their plantation along Bayou Derbanne.

Suzette looked over to her mother Elisabeth's strong, quick hands as she pulled a gray white dough ball toward her, kneading air into biscuits for the master's breakfast table. When her mother finished the cooking, it was Suzette's job to run the food to the big house while it was still hot and to serve the table.

Der-banne. Fre-dieu. She silently practiced her speaking voice in time to the paddle, hoping her mother would make conversation.

Elisabeth hummed as she worked, her tune deep, slow, and plaintive. Suzette wasn't sure of her mood. Her mother had never taken to Creole French, even the rough version they spoke in the quarter. Elisabeth never achieved the same slurry rhythm that everyone else from the house used.

"How was church?" Elisabeth finally asked.

"St. Augustine was beautiful." Belle, Belle, Suzette p.r.o.nounced carefully, wrapping her lips around the word, hoping her French sounded as refined as Oreline's, imagining her words flowing as smoothly as those she had heard this morning at the church. "Old Bertram and I stood outside, but he found us a place where we could see into the sanctuary." Suzette p.r.o.nounced carefully, wrapping her lips around the word, hoping her French sounded as refined as Oreline's, imagining her words flowing as smoothly as those she had heard this morning at the church. "Old Bertram and I stood outside, but he found us a place where we could see into the sanctuary." Sanctuaire. Sanctuaire. "M'sieu, Madame, and Mam'zelle sat behind a row of "M'sieu, Madame, and Mam'zelle sat behind a row of gens de couleur libre. gens de couleur libre."

Suzette could still feel the wonder of the morning, the long ride in the wagon pressed between Oreline and Narcisse Fredieu, seeing for the first time the broad bell of St. Augustine above the vestibule, the shimmery waves rising off the sun-baked tiles on the gabled roof, the brightly colored gla.s.s. But mostly the cl.u.s.ters of people. White, colored, Negro, free, and slave, all dressed fine, all in one place.

Augustine Metoyer and the Church of St. Augustine.

Elisabeth grunted. "The free people of color who built that church own more slaves than the Derbannes. They go by their own rules," she said.

"I saw him, Mere. Mere. When he came outside, I saw Augustine Metoyer himself. I was as close to him as I stand to you now. You should hear him talk. More proper than M'sieu Louis. And his top hat was silk." When he came outside, I saw Augustine Metoyer himself. I was as close to him as I stand to you now. You should hear him talk. More proper than M'sieu Louis. And his top hat was silk."

Suzette closed her eyes to bring back the images of the morning. Augustine Metoyer was the most famous of all the gens de couleur libre. gens de couleur libre. The closest she had ever been to Cane River royalty before was her G.o.dmother, a free woman who had married into that famous family. The closest she had ever been to Cane River royalty before was her G.o.dmother, a free woman who had married into that famous family.

"I wanted to go inside. Old Bertram went in for a few minutes and took communion while I waited." Suzette was sorry her mother had never seen St. Augustine, that she and Old Bertram were the only slaves who had been allowed off the plantation.

"Just do your work, Suzette," Elisabeth said. "We have ten to feed this morning, and I still have Mam'zelle Oreline's birthday supper to make."

"Mam'zelle promised to leave some of everything on her plate for me tonight since it is almost my birthday, too."

Elisabeth said nothing, began to hum again.

Suzette wished her mother would send her on an errand, away for a time from all of the eyes that sought her out night and day. She would slip off her shoes and walk, with the rich Louisiana soil under her feet and between her toes, and carry back a pail of fresh cow's milk without spilling any, or bring in more wood for the fire, or gather green beans from the big garden to string and snap later. She was eight years old today, would be nine tomorrow, and she was meant for the house, not the field. Everyone, white, colored, and Negro, told her how much pride there was in that.

On good days Elisabeth would tell Suzette interesting things, mostly about cooking or preserving or flavoring, and sometimes she would compare Rosedew with the plantation she had come from in Virginia.

"This big house is puny next to some," Elisabeth would declare. In Virginia, her mother said, the big house had an upstairs, a downstairs, and thick white columns in the front. There were separate servants for every task, and each one of them had a.s.sistants. The big house on Rosedew was slung low, a one-story house of wood and brick frame, stuccoed in white, and topped with a long, sloping roof. There were six rooms that Suzette helped clean and a special bedroom for visitors, the stranger's room, with its own separate entrance from the outside for pa.s.sersby on the river who might need a place to stay overnight. More often, as when the entire Fredieu family stayed over, it was used for the Derbannes' relatives who came calling by the day or week or month.

Beneath her madras tignon, tignon, Elisabeth's broad, dark face was streaked with a mixture of sweat from the heat of the cookhouse fires and a film of fine white flour from her morning baking. The sleeves on her long calico summer dress were pushed up above her elbows, and Suzette could see the old leathery burn marks on the brown skin of her mother's arms from her many years as cook, from boiling kettles and the big smoky fireplace and sizzling skillets. Suzette looked down at her own skinny arms, wishing they were pale and white like Oreline's instead of the color of cocoa. Elisabeth's broad, dark face was streaked with a mixture of sweat from the heat of the cookhouse fires and a film of fine white flour from her morning baking. The sleeves on her long calico summer dress were pushed up above her elbows, and Suzette could see the old leathery burn marks on the brown skin of her mother's arms from her many years as cook, from boiling kettles and the big smoky fireplace and sizzling skillets. Suzette looked down at her own skinny arms, wishing they were pale and white like Oreline's instead of the color of cocoa.

"Mam'zelle and I went down to the quarter yesterday."

For Suzette there were real smells in the quarter no one tried to mask, loud sounds no one tried to quiet, and large motions no one tried to subdue. Weekdays only the smallest children were there, along with those too old for the field, the sick, new mothers, and the old woman who took care of all the little ones. Everyone else was gone, working sunup to sundown. After dark everyone was usually too tired from the day in the field to do much more than prepare their evening meal of ground cornmeal and their ration of bacon. A handful of meal, a little water, a pinch of lard, into the ashes to cook, and fall into bed exhausted after eating. But Sat.u.r.day, after half-day labor, the quarter came alive with each household working their own patch garden, washing clothes, trading gossip, and bringing back fish or game along with stories of how they had caught it. Children mixed at will, white and black, broadcloth and homespun, nearly masters and nearly slaves not yet fully grown into their roles. Suzette's family lived in the quarter, including two sisters and a younger brother. There were moments when she wondered what it would have been like to live there instead of the big house.

"Papa made up two songs. One for Mam'zelle's birthday and a different one for mine."

Her father, Gerasime, never gave Suzette hard looks when she used her house voice, unlike some others in the quarter. He was coppery brown, small framed, and always glad to see her, no matter how tired he might be. With his booming laugh, he called her his "big-eyed gal." Gerasime's wild mane of springy black hair couldn't decide whether to stay down or curl up, so it did both, and his face was so smooth that he didn't have to shave like the other men. When Suzette had asked him about it, he'd said it was because he was half Indian. Her father was a favorite in both the quarter and the big house because he played the fiddle, and Louis Derbanne often got requests to rent him out for the frequent parties held up and down Cane River.

Suzette grew quiet when Madame Francoise Derbanne swept into the cookhouse, the silk of her pale green visiting dress rustling. Francoise's heavily corseted build was typical of well-fed Creole ladies, and her fading brown hair had been darkened with coffee-grounds water and upswept in calculated curls. Both her pointed nose and chin were inclined slightly, and her feet were nestled in black hightop shoes with leather-covered b.u.t.tons. Usually she had Elisabeth come to her in the dark back room of the big house to decide on the menus for the week. But from time to time she appeared in the cookhouse unannounced, being careful not to let anything touch her or her fine clothes. It was an old ceremony between the mistress and her cook, and they had been acting it out since Elisabeth had come to the plantation fifteen years before.

"Elisabeth," Madame said, crinkling her nose as if she had caught wind of something slightly foul, "I've just talked to Oreline, and I want today's supper to be special. I have promised her a birthday treat of her favorites. There will be ten of us in all."

"Yes'm, Madame Francoise," said Elisabeth, eyes still on her worktable, hands never stopping their rhythm.

Suzette tried not to smile as she watched the two women, one tall, with skin the color of day-old grits, the other short and dark. She had already told her mother each of the choices she and Oreline had decided upon.

"We will have chicken and ta.s.so ta.s.so jambalaya, sweet-potato pone, green beans, jambalaya, sweet-potato pone, green beans, cala cala with the gooseberry preserves we put up last year, and peach cobbler," Francoise instructed. with the gooseberry preserves we put up last year, and peach cobbler," Francoise instructed.

"Yes'm."

Suzette was surprised Madame could not smell the peaches hidden in the pantry. Their aroma still lingered in the air of the cookhouse, competing with the sharp yeast smell of the starter sponge for cala cala they had concocted the night before, holding the promise of the rice fritters to come. She had peeled the potatoes for her mother and had been careful to watch how Elisabeth combined the boiled potatoes, cornmeal, flour, and cooking soda and left it in the night air to ferment before mixing in the boiled rice to make the sponge. Just before mealtime would come the flour, eggs, b.u.t.ter, and milk, the stiff batter to beat, the dropping of the they had concocted the night before, holding the promise of the rice fritters to come. She had peeled the potatoes for her mother and had been careful to watch how Elisabeth combined the boiled potatoes, cornmeal, flour, and cooking soda and left it in the night air to ferment before mixing in the boiled rice to make the sponge. Just before mealtime would come the flour, eggs, b.u.t.ter, and milk, the stiff batter to beat, the dropping of the calas calas by the spoonful onto the blistering skillet. by the spoonful onto the blistering skillet.

"I give you my permission to go to the smokehouse after breakfast and get the ham and one jar of preserves," Madame said with a slight nod of her head.

"Yes'm."

Madame Francoise walked a few steps toward the doorway and then turned back. Her tone had a scolding edge.

"You used far too much sugar in your last peach cobbler, Elisabeth, and Monsieur Derbanne got an upset stomach. Use less sugar this time."

"Yes'm."

The last time Suzette had served her mother's peach cobbler, she had spent half of that night cleaning up after Louis Derbanne. Elisabeth herself had told Suzette that M'sieu was ill because he had drunk too much bourbon. Her mother had done nothing wrong.

Suzette stood to her full height, the b.u.t.ter paddle still in her hands.

"Madame," she said eagerly to Francoise Derbanne, "it was the bourbon that made him sick, not the sugar."

Suzette's words fell into the damp, dead air and hung there. Each of the three stood rooted in the cookhouse, the white woman's lips reducing to an astonished slim line, the black woman's face turning in on itself, her eyes closing briefly, and the suddenly uncertain little cocoa-colored girl letting her arms fall limply to her side. A fly buzzed sluggishly toward the open doorway.

Francoise Derbanne's eyes flickered hot. She turned, took three quick steps toward Suzette, and slapped her hard with her green-gloved hand across the right side of her face, fingers spread wide.

She squinted at Elisabeth. "I won't be contradicted," she said, her voice wavering slightly. "You need to teach the girl her place." She wheeled around and walked deliberately out of the cookhouse.

Francoise Derbanne had never slapped Suzette in the face before, and it took a moment for her to start to cry. After the first startled tears, she looked toward her mother, who continued working the ball of dough.

"I didn't mean to be bad, Mere. Mere."

Elisabeth sprinkled more flour on the worktable and roughly pulled down the rolling pin. "Your little-girl days are done." At first her tone provided no opening, but then it softened. "Come over here, Suzette."

Suzette obeyed slowly, sniffling.

A single plump tear stood perched on the high ridge of Suzette's cheek, refusing to drop to the red outline below where Madame had slapped her. Elisabeth reached over and with her broad thumb pushed the wetness away, leaving a thin trace of white flour in its place.

"Mere?"

Elisabeth had returned to her dough, humming.

Suzette felt the stinging on her face, the heat of the fires, the stickiness of her shift against her skin. She stared at the old burn spot shaped like a quarter moon on the inside of her mother's exposed arm, fascinated by how perfectly the tips curved in toward each other. She was tempted to reach out and touch it.

"How many times have I told you to keep that mouth from running?" Elisabeth said. "There's lots worse than slapping." She didn't often look angry, but now she pounded at the dough as if she were scrubbing clothes on the washboard.

"It wasn't fair," Suzette said stubbornly.

"There is no fair. Just do your work, Suzette."

Suzette went back to the churn. Der-banne. Der-banne. The paddle resisted more with each movement until she had b.u.t.ter. She spooned it out, rocking herself in place where she stood, her face settling into a dull ache, while Elisabeth's big wooden rolling pin gave out stubborn squeaks with each pa.s.s over the dough.

"Mere, I finished the b.u.t.ter." I finished the b.u.t.ter."

"Is the table set?"

"Oui."

"Then come watch," Elisabeth said. "Your time's coming soon enough to make the biscuits."