53 pages • 1 hour read
Natasha BoydA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
In March, Eliza grows impatient and tasks Togo, one of her father’s enslaved workers, with tilling the land in preparation for indigo crops. Mr. Deveaux visits and recommends that she soak and score the seeds before planting them. On a visit to the Woodwards, Ann announces that Eliza’s father has found a suitor for her: a man named Mr. Walsh, whom Eliza has only met once. They discuss other eligible bachelors and recall an incident when Eliza bored her most desirable suitor, Mr. William Middleton, with her talk of crops. In a letter to her father, Eliza asks him to postpone his efforts to arrange a marriage for her for the next two to three years.
One March morning, Togo tells Eliza that the indigo seeds have finally sprouted. Elated, Eliza decides to ask her father for an indigo consultant. She writes to Starrat to have Sarah brought to Wappoo. In April, the indigo sprouts are killed by a sudden frost. Eliza leaves with her mother for Charles Town to meet with Mr. Manigault, the deed holder of the Wappoo plantation. They stay with the Pinckneys, and while there, Mrs. Pinckney informs Eliza that her niece, Miss Bartlett, will be visiting. Plans are made to introduce Miss Bartlett into society, and as Eliza leaves to retire, she finds Charles in his library.
As she enters the library, Eliza observes Charles and finds him handsome. She is as comfortable in his company as she would be with a family member. She recounts her recent troubles with the indigo sprouts, and he nicknames her “[his] little visionary.” After some hesitation, she asks that he accompany her when she visits the plantation in Waccamaw, as she does not feel comfortable with Starrat. He accepts and makes a comment about how wasteful it will be if she never finds a husband. Eliza meets the Pinckneys’ niece, Miss Bartlett, and they become fast friends. As other female neighbors arrive, the discussion turns to marriage, with observations made about how much women depend on their husbands to be able to live, especially those without the means to hire a lawyer to draft estates. At the Pinckneys’ organized dinner, Eliza meets a merchant named John Laurens, along with his son, Henry. During the dinner conversation, Ann attempts to drum up interest in Eliza’s possible marriage, and Henry inquires whether they could visit Wappoo. When the ladies are alone, they discuss Henry. While Eliza thinks that Henry might intend to ask for her hand in marriage, Mary Chardon thinks that John might be one with marriage in mind.
In late spring, Charles comes to visit Eliza at Wappoo to deliver a letter from Mrs. Bodicott; their shared merchant, Beale, meant to send the letter to her. She shows Charles her new indigo plants and tells him of her intent to bring Sarah to Wappoo. Later, they travel together to Waccamaw, and a small boy by the name of Lil’ Gulla sees them and hurries to Starrat’s cottage to announce their arrival. As Starrat emerges from his cottage, he cuffs the child while a woman scurries out to the enslaved workers’ dwellings. As Eliza goes over the state of the plantation, Starrat balks at taking directions from Eliza and looms over her when she tries to hold her ground. Charles intervenes, and Eliza smooths the interaction over by reminding Starrat that these orders come from her father. When she sees the whipping post still standing, Eliza chooses to avoid the confrontation by telling Starrat that if she hears it has been used, she will chop it down herself. She then asks to speak to Sarah.
Starrat initially resists Eliza’s request, describing Sarah as unreliable and arrogant because her people considered her to be a “priestess.” As Sarah approaches, Eliza realizes that not only was she the woman leaving Starrat’s cottage, but the father of Sarah’s two children is also none other than Starrat himself. Eliza immediately demands that Sarah be transferred to Wappoo, but upon hearing this, Sarah glares at Eliza. Confused, Eliza nevertheless remains resolute in her decision. As she instructs Sarah to pack her children and her things, Starrat comments that soon, Eliza will lose all authority over the plantations because her father has mortgaged the Waccamaw plantation. Eliza’s father had never informed her of this decision. Shocked and angered, Eliza is drawn to a shaded area by Charles as she realizes that Mr. Manigault, the deed holder of the Wappoo plantation, also purposefully kept her in the dark about this transaction when she visited him. The next morning, Eliza wakes up in a fit of anxiety over her choice to serve as the steward of her father’s plantations. She curses her womanhood for the anxiety and powerlessness it causes her and then writes to her father, reiterating her faith in indigo and asking him once again to find a consultant. In his response, he asks for her forgiveness for keeping her in the dark. He also tells her of a consultant from Montserrat that he is sending her way and says that Mr. Laurens has asked for permission to marry her.
Ecstatic at the consultant’s imminent arrival, Eliza keeps a constant eye on her indigo crops. Sarah has not taken kindly to being relocated and does not answer any of Eliza’s questions about indigo making. Essie gives Eliza a talisman to ward off any evil that comes her way. With the heat of the summer intensifying, Eliza approaches Sarah again, intending to ask for her help, but Sarah spits on her floor. However, Eliza stands her ground and promises that if Sarah helps her, she will not sell Sarah’s children, as Starrat has threatened to do. Sarah still does not offer any knowledge about the indigo.
Eliza turns to Mr. Deveaux for advice on when to harvest the indigo plants, but he has little information to offer. Soon, however, the crops are overrun with pests. Despairing, Eliza collapses to the ground as Sarah watches on. Later that evening, Sarah comes to see her and tells her that she will show Eliza how to make the indigo dye. The next morning, Eliza, Togo, Quash, and others harvest the leaves. As they collect their bundles of indigo leaves, the Laurens arrive with two other people in tow. John Laurens misinterprets the situation and believes that Eliza has been attacked by her father’s enslaved workers. However, before he can shoot the enslaved workers, Eliza steps in and berates John for making decisions on her father’s lands. John is dumbstruck but eventually presents the two other men, Nicholas Cromwell (the consultant her father had sent for) and Cromwell’s apprentice, Ben—Eliza’s childhood friend. Eliza is surprised and elated to see her friend again, but when he shakes his head, she pretends not to know him. She gets everyone settled in her house but requests that Cromwell and Ben inspect the indigo harvest before they retire.
As Eliza takes charge of her father’s plantations and attempts to grow indigo in earnest, Boyd shows the protagonist’s aptitude for navigating the limitations of her social position, especially as Eliza works to overcome The Impact of Gender Roles of Female Ambitions. Although she expresses conflicted feelings about her womanhood, Eliza nevertheless recognizes that being a woman is not without its advantages. She reflects, “If I was a boy, I’d be off like my brother George would be soon. To train to be a soldier just like my father. […] I wouldn’t have been charged with this duty. Being a woman was my lot. But it was also my difference” (110). Although Eliza struggles against society’s strict expectations, so too do the men in her family, and while they cannot avoid conscription to the army, she, as a woman, can take advantage of society’s gender roles to break through other restrictions that would normally be set against her. Moreover, rather than displaying the demure and loyal disposition that she demonstrated in the first section of the novel, Eliza grows to become far more brazen in her position of power, most notably in her indirect dealings with other male characters. As she remarks of one of her business dealings, “It marked my first bold fraud, whereupon I had insisted that my father had requested a full three quarters of all rice production to be […] sent to town for export and sale. […] Of course, he had suggested nothing of the sort” (74). Although Eliza’s father’s male overseers and acquaintances belittle her for being a young woman, she learns to use the automatic authority of her father’s name to enact the changes she desires. Thus, her father’s name and her femininity paradoxically empower her to embrace what would have otherwise been denied to her—the authority of a traditionally male-dominated role.
However, her deceit is not the perfect solution in all of her dealings and proves to be something of a double-edged sword, for she only gains authority by proxy and ultimately remains beholden to her father. This problematic reality weakens her standing amongst those she would command and further reveals The Impact of Gender Roles on Female Ambition. The limitations of her strategy become apparent when she tries to impose her own authority on Starrat. When she attempts to assert her financial control over his actions, he responds with a subtle show of physical intimidation that makes her recoil. Thus, despite her overt position of authority, she falls prey to a wordless but potent power struggle and “immediately realize[s] [her] mistake at the flash of satisfaction in Starrat’s eyes” (101). Such interactions undermine her endeavors and reinscribe the gender-based inequalities of her society even as she seeks to subvert the expectations of her male associates and transcend the effects of their ingrained prejudices.
This example is characteristic of Boyd’s narrative approach, as she uses carefully crafted dialogue to indicate that Eliza gathers much of her bravado from her successful deceits, but this show of confidence fails her when she enters face-to-face confrontations that require her to act upon her own agency. Whenever such interactions defeat her, she reverts to a bargaining tone that once again employs her father’s name as a shield, further diluting her own authority. In this case, in order to appease Starrat and succeed in her plans, she subsumes her own authority within her father’s shadow, declaring, “The good news is these are not my orders. They are my father’s orders. So please, just do as he requires, and I’ll let him know of your success in this year’s harvest” (102). Thus, although the use of her father’s name is useful for furthering her ambitions, this approach prevents Eliza from asserting her own authority or gaining the willing obedience of her employees. Although Charles sees her efforts, she can only achieve the dubious recognition of being her father’s metaphorical mouthpiece; in this moment, she is not yet the independent woman she longs to become.