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The Sandalwood Tree: A Novel
The Sandalwood Tree: A Novel
The Sandalwood Tree: A Novel
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The Sandalwood Tree: A Novel

Rating: 4 out of 5 stars

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From incredible storyteller and nationally bestselling author Elle Newmark comes a rich, sweeping novel that brings to life two love stories, ninety years apart, set against the backdrop of war-torn India.

In 1947, an American anthropologist named Martin Mitchell wins a Fulbright Fellowship to study in India. He travels there with his wife, Evie, and his son, determined to start a new chapter in their lives. Upon the family’s arrival, though, they are forced to stay in a small village due to violence surrounding Britain’s imminent departure from India. It is there, hidden behind a brick wall in their colonial bungalow, that Evie discovers a packet of old letters that tell a strange and compelling story of love and war involving two young Englishwomen who lived in the very same house in 1857.

Drawn to their story, Evie embarks on a mission to uncover what the letters didn’t explain. Her search leads her through the bazaars and temples of India as well as the dying society of the British Raj. Along the way, a dark secret is exposed, and this new and disturbing knowledge creates a wedge between Evie and her husband. Bursting with lavish detail and vivid imagery of Bombay and beyond, The Sandalwood Tree is a powerful story about betrayal, forgiveness, fate, and love.
LanguageEnglish
PublisherAtria Books
Release dateApr 5, 2011
ISBN9781416597933
Author

Elle Newmark

Elle Newmark is the acclaimed author of The Book of Unholy Mischief.  She lived and worked in the hills north of San Diego.

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  • Rating: 4 out of 5 stars
    4/5
    I'm part of the Transworld Book Group!Soon after WWII, an American family moves to India. Jewish-American Martin has returned to his studies in Indian history after fighting in Europe, and has won a Fullbright Scholarship to continue his research there. Britain is preparing to grant Indian independence, including partitioning the country into Hindu India and Muslim Pakistan, and the family are staying in a village near Simla, near the proposed borders. Martin will be documenting the end of British rule.Martin's wife Evie and their 5 year old son Billy come too, and Evie tells us her story in a first person narrative. She is keen to participate in a new adventure, and anxious to hold on to her marriage to a man troubled by his recent experiences. She finds a cache of letters between two women, written in the 1850s, and gets caught up in the story of two very close friends, Adela and Felicity - the letters leave Evie with some huge questions and she sets out to find out the answers. The story of Adela and her friend Felicity is told partly through the letters but also in a third person narrative. I found both the 20th and 19th century stories interesting. I really like historical fiction and having several stories (and time periods) revealed in one novel is a bonus. The Sandalwood Tree is nearly 500 pages, but it is a quick and engaging read.India in the novel is portrayed through the perceptions of two Western women, 20th century American Evie and 19th century English Adela. Evie describes in some detail the appearance of the rented bungalow that is to be the new family home and the surrounding village, and people including servants, their Indian landlord and some English colonials. Elle Newmark also describes the food that Evie and Martin eat, having decided to try to eat Indian food rather than the English nursery food the British colonials have.I found the 20th century story more memorable than the 19th century one, but the 19th century story is a moving and emotional tale of rule-breaking romances including lesbian relationships. However, Evie's first person narrative has more immediacy and is more dominant in the novel.I liked Evie's character a lot, open minded, always looking for a way to relate to the variety of people she meets, and anxious about having servants and about offending them. I do have some reservations - I don't believe a white American couple, even one in a mixed marriage (Evie is from a Catholic background, would have been quite so liberal and anti-racist in their outlook and I think maybe the author modelled Evie and her attitudes a little too much on herself. The best historical fiction involves engaging with the mindset of the time - even unconventional and rebellious characters will still be influenced by their society.Although she doesn't quite get under the skin of her characters, this is a terrific easy read and I really enjoyed it.An extra bonus in the edition of the novel I read is an interview with the author in which she discusses the historical fiction genre, the factual background of her story and the history of Partition, religious divisions in India, Indian food, travel and living in different places, and the Jewish uncle who fought in Europe in WWII. I love to know about writers' thoughts and influences for their writing. This is also valuable because sadly Elle Newmark died earlier this year - she was struggling with the disease that killed her while writing this novel, her second.Thank you to Transworld for sending me The Sandalwood Tree to review as part of their Challenge.
  • Rating: 3 out of 5 stars
    3/5
    Maybe I’ve been reading too many classic novels recently, but I thought that this novel fell a bit short for me. I guess I was expecting lush descriptions of India, vivid descriptions of historical events, and great characters. Sadly, I was disappointed.The Sandalwood Tree is a split-time novel. One half of the novel focuses on an American, Evie, whose husband Martin comes to India on a Fulbright scholarship to document the end of the British Raj and the separation of India and Pakistan in 1947. One day, she finds a packet of old, illegible letters that documents the friendship between two Englishwomen, Adela and Felicity in 1856. The chapters then alternate between the two stories; Evie’s story focuses on the disintegration of her marriage, while Felicity goes to India as a member of the “Fishing Fleet,” young Englishwomen who went to India to find husbands once they’d failed to find husbands within two seasons of coming out. You can tell right off the bat from the tension in the beginning of each story that something big’s going to occur…Well, I thought it was an interesting idea, but the characters weren’t really as well rounded as I might have liked them to be. None of them was particularly likeable, though; Evie came off as a bit too modern for her time, and the two Victorian women were a bit too juvenile for my taste. As a result, I got bored pretty quickly; there’s nothing much that made this novel particularly enjoyable for me, so I couldn’t finish it. Still, I thought the idea was good, especially with the contrast between the Sepoy rebellion in one story and the end of the British Raj in the other. But if you want a much better, more authentic telling of the Sepoy rebellion, I’d recommend MM Kaye’s The Shadow of the Moon.
  • Rating: 5 out of 5 stars
    5/5
    CoverI am absolutely infatuated with the colors on the cover of this book. I find them gorgeous and was drawn to them as soon as I opened up the envelope the book arrived in.Unless I missed something while reading, I'm not sure how the stairs correlate to the story ... unless it is metaphorical. Perhaps a woman at a crossroads? Should she climb the stairs to civility or turn away and head on her own path? Hhmmm ...PlotI've always enjoyed books where there's two different times and plots happening and then they're joined somehow towards the end. If well written, I find those types of stories intriguing and attention-grabbing. Does that mean this book was well written?Oh my gosh, yes! I loved this book. There was romance, political/societal tension, war, murder, mystery ... I think this book had every element possibly imaginable. This may seem like a lot of elements in one story, but the way Elle writes it makes the transitions seamless.Main CharactersEvie - Wife of Martin; Mother to Billy - She is confused by the change in her husband after the war ended. She couldn't understand his tendencies toward isolation, brusqueness and volatileness. She felt like giving up several times, but was taught patience and acceptance by the people of India.Martin - Husband to Evie; Father to Billy - He is a war veteran who is disappointed with himself and his actions during the war. He still loves Evie, but is unsure how to show her when he comes home from the war. He has come to India to write a historical thesis.Adela - Born in England, she has lead a very sheltered life. She becomes aware of her sexuality during an innocent encounter with a dear friend. She leaves England for India with the supposed hope of finding a husband. She really left to escape her parent's home and to experience true unbridled freedom to live how she chooses.Felicity - Born in India, Felicity is sent to England to acquire proper schooling. She lives with her host family and becomes great friends with the family's daughter. Upon returning to India, Felicity becomes involved in charities and meets a married Indian man whom she falls in love with.OverallElle Newmark has become one of my must-read authors thanks to The Sandalwood Tree. If you've never read an Elle Newmark novel like me and you enjoy intrigues, history, love stories and an intertwining of two different eras, then I would highly recommend you read The Sandalwood Tree.
  • Rating: 4 out of 5 stars
    4/5
    I read and reviewed this book as part of the Transworld Book Group.This is a lovely tale of India around the time of partition in 1947, and also in a time of unrest in 1857. A dual time narrative story, and one in which, unusually for me, I preferred the older story to the more recent one.Evie Mitchell, her husband, Martin, and their young son, Billy, have moved to India so that he can carry out research. Martin is deeply troubled by his experiences during World War II and their marriage is suffering as a result. When Evie finds letters hidden in the wall of their rented bungalow it takes her on a journey of discovery, both about the events of 1857 and also about her own situation.The 1857 story was fascinating to me. It involved two friends, Felicity and Adela, women doing their own thing in India. I loved all the letters and journal entries that formed this part of the book, and how that story was tied up in the end. The 1947 story was also good, although Evie's voice, as the narrator, didn't quite ring true, both for the period and also the way she came across sometimes. Billy was also very precocious for a five year old, and I don't think his voice was entirely convincing either. I must admit to being irritated by the number of pet names he had!I love books set in two different times, where there is a mystery to unravel, and this is one of those books. I felt the setting was very evocative, with the sights, sounds and smells being described very well. I believe the author visited India and saw it first-hand and I think it showed. On the whole this was a good read, and one which kept me interested all the way through.
  • Rating: 4 out of 5 stars
    4/5
    There's so much about Elle Newmark's The Sandalwood Tree that I want to say. So, where do I start? This is not a simple story of a husband and wife struggling in their rapidly deteriorating marriage. This is not a simple story of a peek into lives that were lived one hundred years before Evie and Martin, when Evie unearths yellowing and tattered letters between Felicity and Adela, who lived in the Mitchell's rented house in the Victorian age the novel begins to hum with the sights and sounds of old India.I love books that tell two stories woven into one, I like flipping back and forth in time and space. Newmark brilliantly depicts the world of Martin and Evie as they record the end of the British Raj in India after WWII, and does anequally stunning job in painting for the readers, the world of Felicity Chadwick and Adela Winfield, set in the mid 1880s India and England. What a joy to read Newmark's vivid descriptions of these caracters' worlds and their lives. I remember, after the death of my dear Mother, reading letters she had written to friends and family. It was with complete amazement and with rapt attention that I sat cross legged on the floor of her bedroom, reading about her world, struggling to read her script, written with such excitement about her live. I read with equal amazement, the words that author Elle Newmark put down in Felicity and Adela's world. I am such a sucker for stories told in letter form! 84 Charing Cross Road is a long time favorite of mine.Not wanting to give too much away, as always, I want to add that in both story lines we find, mystery, love, joy, friendship, betrayal and ultimately...forgiveness. In The Sandalwood Tree, Elle Newmark crafts an almost perfect novel. There are virtually no unnecessary scenes, no sentences that don't paint a complete picture, and the plotting is so seamless that you completely suspend your disbelief!I say, go buy The Sandalwood Tree, download it...whatever you do, but read this book and share its story with everyone you know who loves a great book.I give it 4 1/2 out of 5 stars!! ARC provided to me by the publisher and in no way affect my review.
  • Rating: 3 out of 5 stars
    3/5
    I couldn't help kinda sorta feeling that this book was intentionally crafted to appeal to Sarah Waters fans. But my feeling could be attributed to the fact that I had Waters' 'The Little Stranger next on my queue, and was impatient to start it.
    The Sandalwood Tree isn't as good as Waters - but it's still an enjoyable book.; I very much enjoyed the vivid depictions of rural India. However, I felt that the connection between the American woman in India in 1947 and the Victorian lady in the same location in the mid-1800's was a bit forced (the various discoveries of the earlier woman's letters &c became progressively less believable),
    I also personally would have preferred more glimpses of events from a local's perspective, rather than only from the foreigners' - it would have made a nice contrast. And the focus on the Americans' marital troubles got a bit Lifetime-y at times, and detracted from the more interesting (to me) social issues that were also brought up by the story.

    (Oh, just a note - I love the cover. It looks like an ad for a Merchant Ivory movie... it's why I picked it up.)
  • Rating: 3 out of 5 stars
    3/5
    This book was like reading two separate stories at the same time. One is the story of Evie and Martin in India during 1940s and the end of the British Raj and Partition. The other was the story of Felicity and Adele during the Sepoy Rebellion in India during the 1840s. Individually the stories were interesting, but they could easily have been told in two separate books.The history was interesting, but I would have preferred a little more of it.I enjoyed the book overall, but felt that sections of it just dragged.
  • Rating: 4 out of 5 stars
    4/5
    The strength of this novel is the descriptions of the sights and sounds and smells of India. Absolutely atmospheric, made me want to be there. Also liked the history of Gandhi, Partition and the political maneuverings between Great Britain and India, there was much I didn't know. Two alternate stories, one from the 1940's and one following the lives of two women a decade earlier. Great easy to follow writing and the story lines were interesting. All in all a very good read. When I went to look up further info on this author I found she had passed away last year from a long illness. She did have a few earlier books that I will go back and read.
  • Rating: 5 out of 5 stars
    5/5
    “Death steals everything but our stories.”It’s the story of Evie Mitchell, who is in India with her husband in 1947. Martin is documenting history in action during the Partition on a Fulbright scholarship; Evie keeps herself making their little bungalow spotless and teaching English to a few local children. One day, she finds a concealed bundle of letters hidden away in the wall of the bungalow. While she can’t interpret very much of them, the reader is given access to a second storyline – the tale of two girls raised as sisters. Felicity leaves Adela in England and makes her way back to India where she was born (and where we know she will leave the letters).I adored this. It seemed to be just the right mix of exotic lands, adventure, mystery and family life/romance/interpersonal conflict to tick all my boxes. (Other recent successes in this vein – The Thousand Autumns of Jacob de Zoet, Bel Canto) And the language! A brief selection of quotes for you:On the discovery and investigation of some ancient letters: “The letters were personal, and trying to fill in the blanks felt like peering into these people’s lives uninvited. I struggled with a brief pang of guilt before reminding myself that the letters were dated 1854 and the people concerned were long past caring.”On marriage: “I remembered when we had shared joy as easily as breathing” “That was the beginning of us being smashed and remade with something of the other in each of us” “I’d lost my best friend and I missed him like fire.”On Catholicism: “It occurred to them that my Catholicism might seem as arcane to them as their Judaism did to me. For me, the pageant of Byzantine robes and chanting in a dead language, the drama of tortured martyrs, virgin birth and crucifixion had been worn thin and made bland by repetition.”And one of my favourite little comic moments (for reference – Evie has only just discovered that Habib speaks English):“‘Oh, Mr Mitchell doesn’t care for eggplant.’‘Of course not, Madam. Eggplant is a useless vegetable. A mistake I am making with this vegetable. I will take back. The merchant should not even be selling such useless vegetables, isn’t it?’‘But last night you said eggplant was the king of vegetables.’Habib regarded me with pity for not understanding something so simple. ‘Madam,’ he said, ‘for you I am working, not for the eggplant. What good would it be doing me to be disagreeing with you and agreeing with the eggplant?’” The dual storyline worked very well here (of course the strands are united at the end, but not as I thought they would be), much as in Maggie O’Farrell’s The Hand That First Held Mine. I loved the Victorian characters, although my loyalties flickered back and forth between the two Victorian girls. Newmark has clearly done her research carefully and it shows. In the 1947 thread, I wasn’t much of a fan of the husband, but Evie was wonderful – impulsively adventurous, a sweet and loving mother, a young wife struggling in a marriage that is no longer the one she entered, determined to see India and experience it properly, unlike the colonial wives at the Club, with their trifle and cricket matches and G&Ts.Evie could be slow sometimes too (annoying, in one who was supposed to be so smart). The conflict is well built and perpetrated, and the scenes with Evie and her son are sweet, but I was a bit disappointed in the resolution to the conflict – it seemed so flat suddenly.But occasional ditzy moments from Evie and Martin’s sullenness were the only things tempering my very positive feelings about this charming cross-temporal and continental adventure.
  • Rating: 4 out of 5 stars
    4/5
    It is 1947. Americans Martin and Evie have come to India because historian Martin has won a Fullbright scholarship to study the Partition. Evie has insisted on coming along in the hopes of bridging the distance that has grown between them ever since Martin returned from the battlefields of Europe.Things don't go as Evie had hoped, however, as the distance between them seems to widen as they try to settle into their new surroundings.One day, as Evie is cleaning the bungalow in which they've been staying, she finds a tidy little packet of letters that had been hidden away behind a loose brick by one of the bungalow's long-ago tenants.In her loneliness and isolation, Evie becomes obsessed with the story of the two unconventional Victorian ladies who were the letters' correspondents. Adela and Felicity had come to India during the 1850's, ostensibly as part of the Raj's "fishing fleet", but in reality, in an effort to escape strict Victorian societal constraints.I loved The Sandalwood Tree. The writing flowed beautifully. The two stories were masterfully interwoven together with the backdrop, creating a gorgeous, luminous tapestry.I definitely give The Sandalwood Tree two thumbs up!
  • Rating: 3 out of 5 stars
    3/5
    The book is like a story within a story. The book begins with the framing story of a woman, Evie, in 1947, who accompanies her husband and young son to India with the dual purpose of seeking adventure and hoping to mend her failing marriage with a man just returned from World War II, broken. When she discovers a bundle of 90-year-old letters hidden in the wall during a cleaning frenzy, the second story of the friendship between Felicity and Adela is revealed. From there, Evie's story diverges from that of Felicity and Adela's as Evie struggles to find more evidence of the two other women's existence and uses her fascination as a distraction from the political turmoil occurring around her.The British are pulling out of India and separating the religious factions of Muslims and Hindus into the two countries of India and Pakistan, causing chaos and mayhem all over the country of India. The imagery and descriptions that Newmark fills the pages with are mesmerizing in their intensity and splendor. The colors, smells, and sounds have me half-falling in love with India to the point that I search for images online to match what I am reading to get a clearer picture of what the characters experience. Even though I struggled to stay interested in the plot for the first third of the book, the descriptions kept me reading and reading.Felicity and Adela's story begins from childhood, describing how Felicity was born in India, but fostered with Adela's family. The infamous husband hunt brought them both back to India through different means, though neither had any interest in a husband, for different scandalous reasons. Residing in the same home that Evie now occupies, Felicity and Adela shun the conventional life of an Englishwoman in India, instead adopting an independent lifestyle and embracing India in all its diverse beauty.Evie herself also seeks to shun what is expected of her, desiring to fully experience the culture of India all around her and use it to heal the problems in her own life. Eventually, she reconnects with the story of the two other women, even as major obstacles present themselves in both her private life and in the immediate villages. Letters take over the narration of Felicity and Adela's tale as Evie finds more to continue the story, instead of the author simply narrating what Evie can't find.On the whole, the novel was beautifully written and contained a worthwhile plot, though I struggled to stay interested at the beginning. I would recommend this book to anyone who enjoys a mystery and craves the beauty of India.
  • Rating: 5 out of 5 stars
    5/5
    Elle Newmark is a master story teller. I was not sure about this book but once I started reading it I could not put it down.The characters were very memorable and vibrant and the story stays with you long after you have read the last page.I'm not sure if she is currently working on another book but she is definitely on my list of favorite authors.
  • Rating: 3 out of 5 stars
    3/5
    After reading several very serious books I welcomed this as a lighter read. The story takes place on two different narrative threads. The first in is 1947 where a young American couple have come to India on the verge of Independence. Evie and her husband, Martin have a troubled marriage due to Martin's "combat fatigue" (what today would be diagnosed as PTSD) and Evie hopes that a change of surroundings from Chicago to exotic India will help their marriage.The other narrative thread is of two British Victorian women who are in India during the Sepoy Mutiny. Their story is discovered when Evie finds some of their correspondence hidden inside the chimney piece in her kitchen. Intrigued, she is determined to find out more about them.The weaving to the stories back and forth is not totally successful and some of the plot lines defy the realities of the time periods. Still, it's an easy and relaxing read.
  • Rating: 5 out of 5 stars
    5/5
    I adored this book! After some misgivings, I am generally not a fan of mysteries, I read this on the recommendation of a friend. I am however a fan of books about India particularly those that deal with the British raj and subsequent independence and partition. This book moved easily between the days leading up to partition and Victorian India with parallel stories of an American woman living in the same hill station cottage as two Victorian women once occupied. I sometimes find this literary device to be confusing and contrived but not in this case. Ms.Newmark weaves the two stories together so skillfully that the transitions between past and present are seamless and very dependent on each other. Yes, the ending is perhaps a bit too neat and happy, but there's nothing wrong with that, is there? Simply put, a great read!
  • Rating: 3 out of 5 stars
    3/5
    A nice story about a mixed faith couple (he's Jewish, she's Christian) who go to India just as Partition is to take effect in the 1940s. The flashbacks to the 2 English women who occupied the cottage in the 1850s is the best part: the lesbian who has to flee England because of the shame and the white woman who has a secret relationship between with a Sikh. The way the modern women pieces together their story keeps you reading but it's all a little too convenient, with too many bits of the diary found in the most obscure places. And the tidy resolution to the American couple's relationship problems is not only predictable but way too rushed in the last few of pages. Obviously, another case of the author having a page limit and needing to tie up loose ends.
  • Rating: 4 out of 5 stars
    4/5
    It’s 1947, and Evie’s marriage has been failing ever since her husband returned from World War II, shellshocked and haunted. He wins a grant to document the end of the British Raj in India, so he takes his wife and young son to live in the small village of Masoorla. Behind a loose brick in the kitchen, Evie discovers letters between two young women written in the 1850s. Intrigued and perhaps more than a little in need of distraction, she searches out more information about the correspondents and what happened to them. The interwoven tales at the beginning and end of the British Raj fascinated me, as did the candid descriptions of life in colonial India. I loved most of the characters, and while at times the story was just heartbreaking, I had trouble putting it down. I had to know what happened to Adela and Felicity, whether Evie would leave, if Martin would be killed in an uprising. The ending was perhaps a little too tidy, but it was very sweet and satisfying nonetheless. I closed the book with a smile on my face, glad to have read it. That’s really all I can ask for in a novel.
  • Rating: 3 out of 5 stars
    3/5
    I liked this book - nice story, good writing, decent amount of history - but I didn't love it. As historical fiction goes I prefer a lot more history and a lot more complexity. This seems more like your basic love story set in two different times in India, rather than a piece of historical fiction about a time period in India. I wish the author had stuck with the 1947 storyline, the late 1800's storyline seemed a bit forced and less compelling than the former and the connection between the two stories felt kind of strained. In retrospect this reads a bit like two novels that got mashed into one - an action that didn't do either story a lot of good. To her credit, however, Ms. Newmark does know how to tell a story, even when it's not exactly what I thought it should be.
  • Rating: 5 out of 5 stars
    5/5
    Article first published as Book Review: The Sandalwood Tree by Elle Newmark on Blogcritics.1947 is the year of Britain’s withdrawal from India; it is also a time of civil unrest. Planned Partition is set to happen even against the will of Gandhi. It is a dangerous time to both visitors as well as the differing factions in India. It is during this war-torn strife that Martin Mitchell wins a Fellowship to study in India. He is there to document the end of the 200 years of British Raj. Arriving with his wife Evie and son Billy they settle into their new home with care.Evie plans to use the time to work on her marriage, Martin is not the same man she married. The War in Europe changed him into an angry and introspective man. While Evie is cleaning and making the bungalow ready, she finds some letters hidden behind a brick in the chimney.Why are they hidden? Just that question alone creates a mystery that envelopes Evie's curiosity.There is something about the letters and the two young women that intrigue her. Curious as to why the letters were hidden, it makes her want to know more about these young women. Dated from 1846-1851 they follow the lives of Adela Winfield and Felicity Chadwick. There is something fascinating about reading how life was in a prior time.As her life with Martin continues to erode, she immerses herself in the mystery and romance that becomes clear through the writing of these long ago notes. The small parcel of letters she finds is not enough and she decides to make a quest to find whatever information she can to learn their true story. Beginning at the cemetery, it guides her to the church where parish records are kept. It is here in the records she finds further letters and records of the lives of Adela and Felicity. Further search for information takes her into the bazars and temples of India, looking for more. It is during this further search that she learns of a dark secret. This secret only further drives a wedge in her marriage.Will her marriage ever be the same? In The Sandalwood Tree by Elle Newmark, we follow the lives of the Mitchell family as well as the lives and times of the two young Englishwomen, Adela and Felicity. The letters are wonderful and well detailed taking you back to an earlier time and place. As you follow their story, you forget they are not in the here and now, and like Evie you want to know more. The details are scintillating and their actions are bold for the times, yet they demand your admiration. From their lives in England to their relocation to India, they remain fast and true to the end. They are the best of friends with a secret that could certainly put them at risk. Will it be worth it?Evie follows a path, fraught with danger and intrigue to find the answers to the lives of these young women putting herself and her family in danger in the process. Evie is a strong and caring young woman with a heart of gold. But she is beginning to lose her patience with her husband and it makes her reckless. Her relationship with her son is amazing. Newmark has developed a character with humor as well as panache. She has different nicknames for Billy that she brings out frequently sharing a charming and unique side of her that draws you in.Martin has a secret and is unwilling to share the burden with Evie. It eats at him and shadows everything he is and longs to be. He is in an obvious self-destructive phase, and yet periodically you can see the man behind the pain. He is flawed and yet remarkable, but can he recover from the shadow that haunts him?Billy is absolutely charming and wins your heart with his conversation and actions. He is an extremely bright child and is able to twist everyone he meets around his finger. The danger around the family is very real and creates a tenseness, an uneasiness hard to overcome.The backdrop is beautiful, and Newmark does a wonderful job of capturing the sights and sounds of India and shares them with us, making you feel like you are there in that place at that time. She weaves danger and suspense throughout the story, creating an irresistible and fast-paced read. We are there with Evie when she is researching and I found I wanted to know about the Englishwomen's lives as much as she did. It is a story in a story and yet written with a wonderful clarity, a sassiness and verve that pulls you in and does not let go until the very end. Even then, you find yourself thinking about the characters and wanting more.This is a wonderful work of fiction and would be an exceptional book for a book club and reading group. It is a must-have for your library, a book you can take out and read over, and due to the intricate detail you would find information you may have missed the first time. This is an remarkable story, with a setting you can feel and characters right out of life.This book was received free from the publisher. All opinions are my own based off my reading and understanding of the material.
  • Rating: 4 out of 5 stars
    4/5
    I was drawn to read this novel because I was interested in learning more about the history and culture of India. Admittedly, I was not so interested in studying history during my school days so I have been selecting novels that blend history with mystery and fiction. “The Sandalwood Tree” was a great choice because I’ve come away with a much better understanding of a place that seems so far away and foreign to me. Elle Newmark does an excellent job telling 2 different (but intertwined) stories that are based on 2 different but formative time periods in India’s history. The first, and more recent story, is that of Evie and Martin who travel to India with their young son, Billy in 1946 so Martin can document the end of the British Raj as part of his Ph.D. dissertation. What they encounter is a country filled with apprehension and uncertainty as new borders are defined to partition Hindus and Muslims, thus creating 2 nations, India and Pakistan. During this period, Evie is struggling with her relationship with Martin, who has become unattached and distant following his return from World War II. As part of her housecleaning, Evie uncovers letters and journals that document the lives and what was determined to be an ‘unconventional’ relationship between 2 women (Felicity and Adela) during the 1850’s, who happened to live in the same house as Evie and Martin. The journals bring to life the struggles of India during their ‘War of Independence’ when there was an uprising of the sepoys (Indian citizens who were commissioned to fight for the British military).Through her journey of trying to piece together the mystery of the lives of Felicity and Adela, Evie comes to understand that in the end, what we have are our stories. In reading the story of Felicity and Adela, Evie is able to gain the resilience she needs to help her husband face the secrets that have been part of his World War II experience, so they can re-establish their lives together.The sights, sounds and smells of India are beautifully portrayed by Elle Newmark in her telling of this story. I dream one day of experiencing the landscape of the Himalayan mountains and visit this foreign land – someday, I would like this adventure to be part of my story.One of my favorite passages comes from Evie’s summation of the Indian people that portrays their strength and resilience:“I wondered how they’d (the Indian people) been persuaded to play such a menial role in their own country. I had an idea that their acquiescence had to do with the way they quietly survived waves of invaders by bending rather than breaking. The Aryans, the Turks, the Portuguese, the Moghuls, and the British had all swept through their subcontinent, and yet India remained Indian. They kept their heads down and outlasted everyone.”
  • Rating: 4 out of 5 stars
    4/5
    This is a lovely and informative novel. The setting is India, both 1947 and 1858. There are five love stories in a way.. There's the heroine, Evie and Martin. They are married with a five year old boy. Their marriage was wonderful until Martin went to serve in WW2... now things are falling apart. Evie thought that coming to India would bring them closer together, but they have simply "exported" their unhappiness... In order to save their marriage, Martin must get rid of his inner demons and both of them must learn to live for joy..Evie finds old letters and a journal from 1858 chronicling the lives of Felicity and Adela. Adela has a love story.. Adela was a lesbian in a time when lesbianism was frowned upon.. Adela had an affair with a maid in England despite her great love for Felicity... Felicity is in love with India and has a dangerous affair of her own, with an Indian man. That's three love stories. The last two are different kinds of love stories, love between mother and child. Throughout the novel, I was impressed with the bond between Evie and her son, Billy. The book really shows how strong a mother's love is and how far she will go for her child. I loved Billy and his, "Aw, nuts." What a cute kid.Adela experiences motherhood in her own way... with a child not of her blood. The bond is there, nevertheless.In the middle of all these wonderful stories is the story of India.. of British rule, of Ghandi, of Partition and the chaos resulting from it. Partition was when Britain withdrew their rule and divided the country between Hindus and Muslims, India and Pakistan. I found myself pondering this... Is it better to live divided and possibly breed hate and resentment or to live together and learn to love one another?I found this educational regarding Indian history and I felt the book had a strong moral throughout: Whether in relationships or life in general, life is what you MAKE IT. You have a choice: live with joy and forgiveness or live with hate and resentment.Four stars only because Adela's journal entries were dull at times.I received this ARC from the publisher.
  • Rating: 4 out of 5 stars
    4/5
    Last year I waffled back and forth over whether or not to accept a review copy of Elle Newmark's debut novel, The Book of Unholy Mischief. The cover copy mentioned some things that made me leery of reading it. Eventually I went ahead and said yes because the things that intrigued me about the book overcame my qualms. And I have rarely been happier that I took the chance. So when The Sandalwood Tree was made available, I jumped at the chance to read it. The fact that it is set in India in the final year of the British Raj and follows the life of a woman whose marriage is under intense pressure and who finds and becomes obsessed with the Victorian letters of two British women who lived in her home a hundred years prior made it almost tailor-made to my tastes. And like The Book of Unholy Mischief, this is an expansive and engrossing tale.Evie and Martin used to have a strong and happy marriage. Then Martin went off to Germany to fight and came home a different man. Now their marriage is crumbling. So when Martin, an historian, is offered a Fulbright scholarship to go to India to document the end of the British Raj, Evie fights to accompany him with their 5 year old son Billy in the hope that a new place will help them find their way back to the open and loving relationship they once had. But India is in turmoil, facing Partition, and tension runs high, exacerbating Martin's fears and making Evie feel constrained and resentful. And while they are in a fairly safe place, removed from the bulk of the religious violence breaking out elsewhere, there are menaces even in this British summer outpost.As Martin goes about adopting native costume and habits and courting danger, he forbids Evie to move freely herself, an order she disobeys, driven by her curiousity about a set of letters from the mid-1800's that she found secreted behind a brick in the kitchen wall. Wanting to know more about Felicity and Adela, Evie embarks on a search to learn more about them, their circumstances, and what could possibly send at least one of these Englishwomen to India in the midst of the Sepoy Rebellion. Slowly Evie pieces together the story of Felicity and Adela, their lives and loves, and the long-forgotten scandal(s) swirling about them.Evie and Martin's marriage continues to founder and fail as Evie reads about these two unusual Victorian women who pushed so hard against the constraints of the historical time in which they lived. As the women declared, they "lived for joy." Evie wants desperately to live for joy also, trying, pushing, and demanding an opening back into Martin's life and mind.This is a sweeping love story on so many fronts and involving so many character combinations: the love of husband and wife, the love between illicit lovers, the love of parent for child, the love between friends, and unrequited love. Even as the country itself is being torn asunder, all of these unifying relationships are playing out on the page and serving as a path for Evie and Martin to find their way back to each other.The place is beautifully rendered in this novel. India and her overwhelming color and lushness stand out even as Newmark has captured the insularity, racism, and surprising compassion of the late 1940's British ex-pat community there. Making Evie and Martin American allows them to stand out as different from the start and enables Newmark to have Evie interact a bit more with the Indian community than would otherwise have been believable. The parallel stories twine together nicely and keep the reader engaged with both plots. Each chapter starts with a year heading making it easy to know when Evie and Martin's story flips to Felicity and Adela's story. Despite this though, the story must be narrated by a modern day Evie based on a few comments (a remark about Vietnam vets is just one example) in the narration. This is rather disconcerting as the sensibility of these comments is at odds with the post-WWII society during which the tale is set. This only happens a few times in the very beginning of the book and then the incongruous and modern Evie disappears, which is all to the good. The ending of the book is a bit rushed, predictable, and a little too easy but the ride to that point makes it forgivable. Over all, a very enjoyable read and I'll definitely look forward to Newmark's next book.
  • Rating: 5 out of 5 stars
    5/5
    Beautiful book, extremely well written, the content was paced very well and was engaging and insightful. I really loved the characters and felt like I knew them well and could relate to them. The content was rich and the descriptions of India were so vivid-much better than many other books I have read that take place there.
  • Rating: 5 out of 5 stars
    5/5
    Really loved this book. I felt I was in India seeing, smelling and experiencing the sights. Thank you for taking me along on this journey.
  • Rating: 4 out of 5 stars
    4/5
    A good immersive story set in India just before Partition. Martin Mitchell has returned from WWII seriously damaged, emotionally, and he takes his wife and young son to the Indian countryside to work on his PhD dissertation on the subject of how the coming withdrawal of British Colonialists and the separation of the continent into two nations according to religion is affecting its people. Evie Mitchell hopes the complete change, and what she imagines as the romance of an exotic new world will help heal both her husband's invisible wounds and their now troubled marriage. A chance discovery of some old letters between two Victorian women who previously occupied the bungalow she and Martin are living in sends Evie off on a research mission of her own, to find out more about the lives of those women, who obviously shared her love for their adopted land. Engrossing, satisfying, a few surprises, but basically a comfort read.Review written September 2020
  • Rating: 4 out of 5 stars
    4/5
    Simply, a well-written beautiful story.
  • Rating: 5 out of 5 stars
    5/5
    Rich in details and history, The Sandalwood Tree will keep the reader turning pages. A book that teaches while telling a great story is worth reading, and this book meets that criteria.

    Martin, Evie, and Billy leave Chicago to live in India while Martin, a historian, documents the end of the British Raj. As they settle into a small town amid brilliant color, strange customs, and agonizing poverty, the tapestry of the story begins.

    Against the wallpaper of a solid but troubled marriage and religious and political turmoil, Evie discovers a few letters secreted away in their rented bungalow. She seeks more information about the people in the letters from a local church. One scrap of information leads to another, along with some accidental, fortuitous finds, and the story of Adele and Felicity emerge. The year is 1947; the letters were written 90 years ago in the Victorian era.

    The dual stories of Evie's family in an increasingly war-ravaged, unstable land and young Adele and Felicity's growing up across continents alternate in the book. The characters are finely crafted by the author.

    The book engages the senses and emotions leaving the reader with drifts of the story long after it is read. I loved the book. It would make a good movie, if it's possible to fit so much into a movie.

Book preview

The Sandalwood Tree - Elle Newmark

1947

Our train hurtled past a gold-spangled woman in a mango sari, regal even as she sat in the dirt, patting cow dung into disks for cooking fuel. A sweep of black hair obscured her face and she did not look up as the passing train shook the ground under her bare feet. We barreled past one crumbling, sun-scorched village after another, and the farther we got from Delhi the more animals we saw trudging alongside the endless swarm of people—arrogant camels, humpbacked cows, bullock-drawn carts, goats and monkeys, and suicidal dogs. The people walked slowly, balancing vessels on their heads and bundles on their backs, and I stared like a rude tourist, vaguely ashamed of my rubbernecking—they were just ordinary people, going about their lives, and I sure as hell wouldn’t like someone staring at me, at home in Chicago, as if I were some bizarre creature on exhibit—but I couldn’t look away.

The train stopped for a cow on the tracks, and a suppurating leper hobbled up to our window, holding out a fingerless hand. My husband, Martin, passed a coin out the window while I distracted Billy with an impromptu rib-tickle. I blocked his view of the leper with my back to the window and smiled gamely as he pulled up his little knees and folded in on himself, giggling. No fair, he gasped. You didn’t warn me.

Warn you? I wiggled two fingers in his soft armpit and he squealed. Warn you? I said. Where’s the fun in that? We wrestled merrily until, minutes later, the train ground to life and we pulled away, leaving the leper behind, salaaming in his gray rags.

Last year, early in 1946, Senator Fulbright had announced an award program for graduate students to study abroad, and Martin, a historian writing his Ph.D. thesis on the politics of modern India, won a scholarship to document the end of the British Raj. We arrived in Delhi at the end of March in 1947, about a year before the British were scheduled to depart India forever. After more than two hundred years of the Raj, the Empire had been faced down by a skinny little man in a loincloth named Gandhi and the Brits were finally packing it in. However, before they left they would draw new borders, arbitrary lines to partition the country between Hindus and Muslims, and a new nation called Pakistan would be born. Heady stuff for a historian.

Of course I appreciated the noble purpose behind the Fulbright—fostering a global community—and understood the seriousness of partition, but I had secretly dreamed about six months of moonlit scenes from The Arabian Nights. I was intoxicated by the prospect of romance and adventure and a new beginning for Martin and me, which is why I was not prepared for the grim reality of poverty, dung fires, and lepers—in the twentieth century?

Still, I didn’t regret coming along; I wanted to see the pageant that is Hindustan and to ferret out the mystery of her resilience. I wanted to know how India had managed to hold on to her identity despite a continuous stream of foreign conquerors slogging through her jungles and over her mountains, bringing their new gods and new rules, often setting up shop for centuries at a time. Martin and I hadn’t been able to hold on to the us in our marriage after one stint in one war.

I stared out of the open window, studying everything from behind my new sunglasses, tortoiseshell plastic frames with bottle-green lenses. Martin wore his regular glasses, which left him squinting in the savage Indian sun, but he said he didn’t mind; he didn’t even wear a hat, which I thought foolish, but he was stubborn about it. My dark-green lenses and my wide-brimmed, straw topee gave me a sense of protection, and I wore them everywhere.

We passed pink Hindu temples and white marble mosques, and I raised my new Kodak Brownie camera up to the window often, but didn’t see any hints of the ancient tension simmering between Hindus and Muslims—not yet—only the impression that everyone was struggling to survive. We passed mud-hut villages, inexplicable piles of abandoned bricks, shelters made from tarps draped haphazardly over bamboo poles, and fields of millet stretching away into mist.

The air smelled like smoke tinged with sweat and spices, and when gritty dust invaded our compartment, I closed the window, brought out the hairbrush, washcloth, and diluted rubbing alcohol that I carried in my hand baggage and went to work on Billy. He sat patiently as I whisked his clothes, wiped his face, and brushed his blond hair till it shone. By then the poor child had gotten used to my neurotic need for cleanliness, and if you understand the lunatic nuances involved in keeping up appearances you’ll understand why I spent an insane amount of time fighting dust and dirt in India.

I caught the madness from Martin. He had come home from the war in Germany obsessed with a need for calm and order, and by the time we had dragged ourselves halfway around the world to that untidy subcontinent I was cleaning compulsively, drowning confusion in soapy water, purging discontent with bleach and abrasive cleansers. When we arrived in Delhi, I shook out the bed linen on the tiny balcony of our hotel room before I let my weary husband and child go to sleep. In the narrow lanes of Old Delhi, crammed with people and rickshaws and wandering cows, I pinched my nose against the smell of garbage and urine and insisted Martin take us back to the hotel, where I checked under the bed and in the corners for spiders. Found a couple and smashed them flat—so much for karma.

When we boarded the train to go north, I wiped down the seats in our compartment with my ever-ready washcloth before I let Martin or Billy sit. Martin gave me a look that said, Now you’re being ridiculous. But the tyranny of obsession is absolute and will not be reasoned with. At every stop, chai-wallahs, water bearers, and food vendors leaped onto the train and sped through the carriages hawking biscuits, tea, palm juice, dhal, pakoras, and chapatis, and I recoiled from them, keeping a protective arm around Billy while shooting a warning look at Martin.

At the first few stops, mingled smells of grease and sweat saturated the sweltering air and made the food unappealing. But after several hours without eating, Martin suggested we try a few snacks. I quickly produced the hotel sandwiches I’d packed in Delhi and handed him one, agreeing only to buy three cups of masala chai—gorgeous, creamy tea infused with cloves and cardamom—because I knew it had been boiled. I ate my bacon sandwich and drank my tea, feeling safe and insulated—I would observe and understand India without India actually touching me. But, munching away and looking out the window, my heart beat faster at the sight of an elephant lumbering on the horizon. A mahout, straddling the massive neck, urged the animal along with his bare heels, and I watched, strangely exhilarated, until they disappeared in a trail of red dust.

Billy watched women walking along the side of the road with brass pots balanced on their heads and men bent double under enormous loads of grain. Often, ragged children straggled behind, looking thin and exhausted. Quietly, he asked, Are those poor people, Mom?

Well, they’re not rich.

Shouldn’t we help them?

There are too many of them, sweetie.

He nodded and stared out the window.

On our first day in Masoorla I threw open the blue shutters of our rented bungalow, beat the hell out of the dhurrie rugs, and polished all the scarred old furniture. I went over every inch of the old, two-bedroom house with carbolic soap and used a quart of Jeyes cleaning fluid in the bathroom. Martin said I should get a sweeper to do it, but how could I trust a woman who spent half her time up to her elbows in cow dung to clean my house? Anyway, I wanted to do it. I didn’t know how to fix my marriage, but I knew how to clean. Denial is the first refuge of the frightened, and it is possible to distract oneself by scrubbing, organizing, and covering smells of curry and dung with disinfectant. It works—for a while.

When I found the hidden letters, I had just finished an assault on the kitchen window. I squeezed out the sponge and stood back, squinting with a critical eye. A yellow sari converted to curtains framed the blue sky and distant Himalayan peaks, which were now clearly visible through the spotless window, but the late-afternoon sun spotlighted a dirty brick wall behind the old English cooker. The red brick had been blackened by a century of oily cooking smoke and, just like that, I decided to roll up my sleeves and give it a good scrub. Rashmi, our ayah, deigned to wipe off a table or sweep the floor with a bunch of acacia branches, but I would never ask her to tackle a soot-encrusted wall. A job like that fell well beneath her caste, and she would have quit on the spot.

The university chose that bungalow for us because it had an attached kitchen instead of the usual cookhouse out back. I liked the place as soon as I walked into the little compound full of tangled grass and pipal trees with creepers twisting around their trunks. A low mud-brick wall, overgrown with Himalayan mimosa, circled our compound with its hundred-year-old bungalow and vine-clad verandah, and an old sandalwood tree, with long oval leaves and pregnant red pods, presided over the front of the house. Everything had a weathered, well-used look, and I wondered how many lives had been lived there.

Off to one side of the house, a path bordered by scrappy boxwood led to the godowns for the servants, a dilapidated row of huts, far more of them than we would ever need for our small staff. At the far end of the godowns a derelict stable nestled in a grove of deodars, and Martin talked about using it to park our car during the monsoon. Martin had bought a battered and faded red Packard convertible, which had been new and snazzy in 1935 but had seen twelve monsoons and too many seasons of neglect. Still, the jalopy ran, I had a bicycle, Billy had his red Radio Flyer wagon, and that’s all we needed.

The remains of the old cookhouse still stood around back, listing under a neem tree, a bare little shack with a dirt floor, one sagging shelf, and a square of mud bricks with a hole in the center for wood or coal. Indians didn’t cook inside colonial houses—a fire precaution and some complicated rules having to do with religion or caste—and it must have been some very unconventional colonials who decided to attach a kitchen to the main house and install a cooker, bless their hearts.

I hired our servants myself, choosing from a virtual army that lined up for interview. They presented their chits—references—and since most of them couldn’t read English they didn’t realize that the bogus chits they had bought in the bazaar might be signed by Queen Victoria, Winston Churchill, or Punch and Judy. The only chit I could be absolutely sure was authentic said, This is the laziest cook in all India. He strains the milk through his dhoti and he will rob you blind.

In the end we had a scandalously small staff—a cook, an ayah, and a dhobi who picked up our laundry once a week in silent anonymity. At first, we’d also had a gardener, a sweeper, and a bearer—a more typical arrangement—but that many servants made me feel superfluous.

I particularly disliked having a bearer, a sort of majordomo who trailed around after me, doing my bidding or passing my orders on to the other servants. I felt helpless as a caricature of a nineteenth-century memsahib, swooning on a daybed. Our bearer had been trained in British households and would wake Martin and me in the morning with a tradition called bed tea. The first time I opened my eyes to see a dark, turbaned man standing over me with a tray it scared me out of my wits. He also served our meals and stood behind us while we ate; it felt like sitting in a restaurant with an eavesdropping waiter, and I was painfully conscious of our conversation and my table manners. I found myself delicately dabbing the corners of my mouth and keeping my spine straight. I could see that Martin felt it, too, and meals became an uncomfortable chore.

I didn’t want bed tea, I didn’t want a bearer—always there, always hovering—and I enjoyed feeling useful. So I kept our little house clean and watered the plants on the verandah myself. I liked the natural jungly look around the bungalow, and the notion of our having a gardener struck me as absurd. Martin told me the expatriate community was appalled by our lack of servants. I said, So?

I kept the cook, Habib, because I didn’t recognize half the things in the market stalls, and since I didn’t speak Hindi, the price of everything would have tripled. I kept Rashmi, our ayah, because I liked her and she spoke English.

When I first met Rashmi, she greeted me with a formal bow, her hands in an attitude of prayer. She said, Namaste, and then began giggling and clapping, making her chubby arms jiggle and her gold bangles jangle. She asked, From what country are you coming?

I said, America, wondering if it was a trick question.

Oooh, Amerrrica! Verryy nice! The ruby in her right nostril twinkled.

Rashmi deeply disapproved of a household with so few servants. Whenever she saw me beating a rug or cleaning the bathroom she would hold her cheeks and shake her head, her eyes round and alarmed. Arey Ram! What madam is doooiiing? I tried to explain that I liked to keep busy, but Rashmi would stomp around the house mumbling and shaking her head. Once I heard her say, Amerrrican, as if it were a diagnosis. She started sweeping up with neatly tied acacia branches and taking out the garbage. I had no idea where she took it, but it seemed to make her happy to do it. Whenever I thanked Rashmi for something, she would waggle her head pleasantly and say, My duty it is, madam. I wished Martin and I could accept our lot so easily.

My beautiful Martin had come home from the war with a shrouded, chaotic underside, wanting everything as neat as an army cot. It was about control, I know that, but he drove me nuts, picking at imaginary lint on my clothing and lining up our shoes side by side on the closet floor, like a row of soldiers snapped to attention. At first I complied and kept everything shipshape, simply because we didn’t need yet another thing to argue about. But I soon discovered that ordering furniture and annihilating dust gave me a fragile sense of control—Martin was on to something there—and I enjoyed imposing my antiseptic standards on India, keeping my little corner of the universe as predictable as gravity.

When this altered Martin came home from Germany, straightening books on the shelf and buffing his shoes until they screamed, he often complained of a metallic taste in his mouth, rushing off to brush his teeth five times a day. I didn’t know what he tasted, but I did know he had nightmares. He twitched in his sleep, muttering disjointed bits about skeletons and calling out names of people I didn’t know. Some nights he’d shout in his sleep, and I’d spring up, shocked and scared. I’d dry the sweat from his face with the sheet and kiss the palms of his hands while his breathing calmed and my heart slowed.

His skin would be clammy and he’d be trembling, and I’d rock him and croon in his ear, It’s all right. I’m here. After a while, when it seemed safe, I’d say, Sweetheart, talk to me. Please. Sometimes he’d talk a little, but only about the language or the landscape or the guys in his platoon. He said it bothered him that German sounded so much like the Yiddish of his grandparents; then he shook his head as if he was trying to understand something.

He told me that Germany was littered with castles and fairy-tale villages, all blasted to hell. He said the soldiers in his platoon were an unlikely bunch thrown together by war, men who would not otherwise have met. Martin, a budding historian, bunked with a fast-talking mechanic from Detroit named Casino. Also in his barracks were an American Indian named William Who Respects Nothing, and a Samoan named Naikelekele, whom the men called Ukulele. Martin said they were OK guys, but a CPA from Queens named Polanski—Ski to the guys—had the wide slab face and flat blue eyes behind too many of the pogroms mounted against the Jews, and Martin had to keep reminding himself that they were on the same side.

But Ski cheated at cards and had a nascent anti-Semitic streak. Martin said, Of all the decent guys in that platoon I had to haul Ski back to a field hospital while better men lay dead around us. His ambivalence about saving Ski haunted him, but it wasn’t the thing eating at him like acid.

One night, in bed, after having had an extra glass of wine with dinner, Martin knit his fingers behind his head and told me about a mess sergeant from the hills of Appalachia, Pete McCoy, who made a crude liquor with pilfered sugar and yeast and canned peaches. Pete had served an informal apprenticeship at his father’s still, deep in the woods of West Virginia, and in a rare, lighthearted moment, Martin did a skillful imitation. He drawled, Ah know it ain’t legal. But mah daddy’s gonna quit soon as he gits a chance.

I said, The nightmares aren’t about Pete McCoy’s moonshine.

Hey, you didn’t taste that stuff. Burned like a son-of-a-bitch going down. His voice became abstract. But sometimes the moonshine was necessary, like when Tommie … Well, anyway, McCoy was like the medic who brought the morphine.

I said, Who was Tommie?

Martin looked away. Ah, you don’t want to hear that stuff.

But I do. Talk to me. Please.

He hesitated, then, Nah. Go to sleep. He patted my hand and rolled away.

World War II veterans were icons of heroism, brave liberators, and most of them were glad to leave the ugliness buried under the war rubble and get back to a normal life, or try to. But Martin had come home with invisible wounds, and our normal life was as ruined as the German landscape. I wanted to understand. I’d been begging him to talk for two solid years, but he wouldn’t budge. He wouldn’t let me help him, and I felt worn to a stump from trying.

That business of rolling away from me in bed hurt, but by the time we got to India, I was doing it, too. I was becoming as frustrated as he was tormented, and we took our pain out on each other. We hid in our respective corners until something brought us out with fists raised. I couldn’t fix our insides, so I fixed our outside. I prowled around the bungalow searching for dust mites to exterminate, mold to slaughter, and smudges to wipe out. I vanquished dirt and disorder wherever I found it and it helped, a little.

The morning I found the letters, I’d filled a pail with hot soapy water and pounced on the sooty bricks behind the old cooker with demented determination. I described foamy circles on the wall with my brush and … what? One brick moved. That was odd. Nothing in that house ever rattled or came loose; the British colonials who built the place had expected to rule India forever. I put the brush down and forced my fingernails into the crumbling mortar around the loose brick, then wiggled it back and forth until it came out far enough for me to get a grip on it. I teased the brick out of the wall and felt a thrill of discovery when I saw, hidden in the wall, a packet of folded papers tied with a faded and bedraggled blue ribbon.

That packet reeked of long-lost secrets, and I felt a smile lift one corner of my mouth. I set the blackened brick on the floor and reached in to lift my plunder out of the wall. But on second thought, I went to the sink first to wash the soot from my hands.

With clean, dry hands, I eased the packet out of its hiding place, blew the dust from its crevices, then laid it on the kitchen table and pulled the ribbon loose. When I opened the first sheet, the folds seemed almost to creak with age. Gently now, I smoothed the fragile paper out on the table and it crackled faintly. It was ancient and brittle, the edges wavy and water-stained. It was a letter written on thin, grainy parchment, and feminine handwriting rose and swooped across the page with sharp peaks and curling flourishes. The writing was in English, and the way it had been concealed in the wall hinted at Victorian intrigue.

I slipped into a chair to read.

from … Adela Winfield …

… Yorkshire … Engl …

September 1855

Dear Felicity,

                   … wrenched my heart to say goodbye …

… dangerous voyage …                           … storms at sea …

… Mother persists in … … these men …                  … vile cretins all …

… miss you terribly …

         sister … joy

         Adela

Decades of damp had ruined most of the page. I glanced at the date, thinking, my God, this thing is almost a hundred years old. And those names—Felicity and Adela—how charmingly Victorian. From the sound of it, Felicity lived in India (in this bungalow?) and Adela had written from England.

I shot a quick glance over my shoulder then smiled at my own silliness. It would make no difference to Martin or anyone else if they found me reading an old letter. It was that hole in the brick wall and the way the letters had been hidden that made me feel like a pirate with illicit booty.

But I was alone. Habib hadn’t yet arrived to start dinner and Rashmi was outside, gossiping with an itinerant box-wallah in the godowns. I listened, and only Billy’s innocent voice broke the house’s deep silence. Billy—five years old then, and full of ginger—was carting Spike around the verandah in his red Flyer wagon.

Spike, a stuffed dog dressed in cowboy gear, had been a gift for Billy’s fifth birthday in lieu of the real puppy he’d wanted. Pets had been forbidden in our Chicago apartment and Spike was a compromise. Martin and I splurged on the finest toy dog we could find—a pert Yorkshire terrier with uncanny glass eyes and a black felt cowboy hat. He was snappily clad in a red plaid shirt and blue denim jeans, and he wore four pointy-toed boots of tooled leather. Billy adored him.

But in Masoorla, the rootin’, tootin’ cowboy had come to represent the easy American life we’d taken Billy away from, and I couldn’t look at it without a twinge of guilt. India had turned out to be lonely—believe me, you don’t expect that in a country with almost half a billion people—and Spike was Billy’s only friend. He talked to the toy as if it was a real dog, and Martin worried whether that was entirely healthy. But I wouldn’t have taken Spike away, even if I’d known the trouble the toy was going to cause later.

I unfolded another page rescued from the wall; it was a water-stained drawing of a woman in a split skirt and pith helmet astride a horse. Martin had told me that Englishwomen rode sidesaddle in the 1800s, and I wondered whether this was some sort of cartoon, or was this woman, perhaps, one of those outrageous few who flouted society? I studied the drawing. She had a young face, thin and plain, and she smiled as if she knew something the rest of us didn’t. She held the reins with easy confidence. The brim of her topee shaded her eyes, and only her knowing smile, her lifted chin, and that bold costume hinted at her personality. I unfolded a few more pages, all letters bearing different degrees of damage, but I made out a phrase here and there.

From … … Ad … Winfield

… shire … England

September 1855

Dear Felicity,

… last night …                                    …a chinless little man …

                                        … bored …

                                                               … a good cry …

… duty to yourself …                          …. but your health …

… intrepid Fanny Parks … not consumptive …

… worry about you …

The letters were personal, and trying to fill in the blanks felt like peering into these people’s lives uninvited. I struggled with a brief pang of guilt before reminding myself that the letters were dated 1855, and the people concerned were long past caring. Still, I glanced at the back door. Gloomy Martin and lighthearted Rashmi would not have cared about the letters, but Habib was a sphinx-like Indian who spoke no English, and I never knew what he was thinking. I always felt a bit off balance around Habib, but he was a reliable cook, who hadn’t poisoned us yet with his incendiary curries.

In spite of my reluctance to trust the suspicious snacks on the train, Martin and I had decided to eat the native food in our own home. Indian cooks had long been preparing English meals—they smirked and called it invalid food—but Martin convinced me that it would be more interesting to eat curries than to teach an Indian how to make meatloaf. Either you’ll give cooking lessons to a cook who doesn’t speak English or we’ll eat nothing but shepherd’s pie and blancmange. He grimaced. I knew he was right, and he clinched it with the very reasonable observation that It will be the same ingredients from the same markets made by the same cook no matter how they are seasoned or arranged in the pot.

Unfortunately, Habib’s curries were so hot that most distinguishing flavors were lost under the searing spices. Martin, the great promoter of eating local dishes, said the meals in our house were not consumed but survived. One night, he stared at his goat curry and rubbed his belly. OK, he said, sheepishly. I know we agreed, but … He sighed. Does every meal have to leave blisters? I nodded, sympathetic. At that point, we both could have done with a little English invalid food.

I tried to get Habib to cut back on the hot chilis with pantomimes of fanning my mouth, panting, and gulping cold water. But the silent little man with the skullcap and expressionless eyes only rocked his head from side to side in that ambiguous, all-purpose gesture that no Westerner can completely decipher—the Indian head waggle. It can mean yes or no or maybe, it can mean I’m delighted or utterly indifferent, or sometimes it seems to be an automatic response that simply means, OK, I heard you. Apparently, it was all about context.

I shuffled the letters, scanning another sheet of writing spoiled by time and weather, and I felt a spurt of irritation with both the letter and the place that had ruined it. I had hoped that cultural isolation would force Martin and me back to each other, but India had not brought us together. India had turned out to be incomprehensibly complex, not a wellspring of ancient wisdom, but a snake pit of riddles entwined in a knot of cultural and religious contradictions.

And speaking of contradictions, India seemed to make Martin simultaneously paranoid and reckless. He still never wore a hat and brushed me off when I offered him calendula ointment for his red, peeling nose. As a historian, he interviewed Indians about their forthcoming independence from Great Britain, which meant walking through the native quarters of Simla and driving the open Packard over steep, rutted roads into the hills to visit remote villages. When I told him to be careful, he laughed, saying, I’m a war veteran. I think I can handle myself. He whistled as he left the house.

But every morning, when I made up our bed, I had to whisk flat the spider cicatrices in the sheet where he had bunched it during angst-ridden dreams. I didn’t know whether he was dreaming about India or Germany, but I knew he was not as relaxed as he pretended.

Another mark of his anxiety was his infuriating double standard. Even while he roamed the countryside at will, he warned me not to stray too far from home. That chafed. I don’t like being told what to do, never have, and I stood up to him. I stuck my chin out and told him we were in India, not wartime Germany, but he stuck his chin out, too, and told me I didn’t know what I was talking about. Any mention of Germany brought a dangerous edge to his voice so I pulled in my chin and let it go.

I unfolded the last sheets of parchment, and my breath caught. The innermost letter was intact. Several pages had been saved from the worst of the damp, every word preserved by the absorbent layers around it.

from The Pen of Felicity Chadwick

Calcutta, India

January 1856

Dearest Adela,

Silly goose! By now you’ve received my letters from Gibraltar & Alexandria & know I haven’t perished on the high seas. I miss you terribly, but it is good to be back in India. How I wish you could join me.

Arriving during the season has been a colossal bore—days spent in stuffy drawing rooms, endless dinners & dances with the same dreary courting rituals between the same desperate women & the same lonely men, all of them becoming silly on Roman punch. I make a point of telling the stodgy gentlemen that I like to smoke & drink, & the bawdy ones that I’m devoted to my Bible studies. Does that shock you? Mother would be appalled, but thus far I have succeeded in avoiding any proposals so my plan is evidently working. Mother & Father are mystified by my lack of proposals & I keep silent, pretending not to understand it either, biding my time until we go to the hills in March. Then I shall escape to the freedom of mofussil—the wild countryside—all on my own. I’ve heard about an unspoiled little village called Masoorla & I smell freedom.

I am happy to be back in India, but the multitude of servants who attend us every moment has resurrected an unsettling memory. One day, when I was six, I skipped into the humid cookhouse behind our home in Calcutta & saw Yasmin, my ayah, standing over a pot left to simmer. This was most surprising as Yasmin was a Hindoo & would normally not enter the cookhouse, which she considered unclean, the place where our Mohammedan cook prepared meat, even beef. Yet, there she was.

I had gone into the cookhouse for a snack of guava chaat & caught her in the act of withdrawing her hand from a moonstone urn. She swivelled her head slowly & locked on to me, her chota mem—little lady—whilst she withdrew a pinch of ash from the urn. Some Hindoos sentimentally save a small amount of a loved one’s ashes, and I had last seen that moonstone urn in Yasmin’s hands a week earlier when she returned, weeping, from Vikram’s cremation. Vikram had been one of our many bearers, and I remembered seeing his body in the godowns covered with masses of marigolds and roses and ready for cremation. I gave Yasmin a questioning look whilst her hand hung poised over the stew pot with Vikram’s ashes pinched between thumb & fingertips.

Knowing I would never betray her, my beloved Yasmin released Vikram’s ashes into the stew, & I watched them flutter into the pot, into our dinner. She smiled at me & I smiled back. Yasmin was the one who woke me with a kiss in the morning, & sang me to sleep at night. She gave me the patchwork quilt made of sari fabrics that I brought with me to England. It smelled of patchouli and coconut oil, like Yasmin, & do you remember how furious your mother was when I hid it from the laundress? I could not lose those scents to lye soap; it would have been like losing Yasmin again.

I watched Yasmin stir the

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