Grace in Thine Eyes (59 page)

Like Jamie, I also held in my hands (but could not afford) Reverend James Headrick’s
View of the Mineralogy, Agriculture, Manufactures and
Fisheries of the Island of Arran
, published in Edinburgh in 1807. More affordable and exceedingly helpful were John McArthur’s
The Antiquities of Arran
(1861), the Landsboroughs’
Arran: Its Topography, Natural History, and Antiquities
(1875), and W. M. MacKenzie’s
The Book of Arran
, Volume 2 (1914). Two modern books that provide a wonderful introduction to Arran are Hamish Whyte’s
An Arran Anthology
(1997) and Allan Wright and Tony Bonning’s photographic gem
Arran
(2002)—both ideally suited for armchair travelers.

Even more than books, music is at the heart of
Grace in Thine Eyes
. James Hunter’s text
The Fiddle Music of Scotland
(1988) was seldom far from reach, and I kept an old fiddle and bow on hand so I might hold them to my heart whenever Davina was preparing to play. I also own an embarrassing number of CDs featuring traditional Scottish music. Jean Redpath’s series,
The Songs of Robert Burns, Volumes 1–7
, stands without peer. References to nine songs by Burns (1759–1796) are featured throughout the novel. In Michael Kelly’s cottage, his neighbors sing “To the Weaver’s Gin Ye Go”; aboard the
Clarinda
, the sailors belt out “Rattlin, Roarin Willie”; Cate and Abbie sing in the rain “There’s News, Lasses, News”; at Kilmichael House, Davina plays “Highland Laddie”; at Brodick castle, Somerled croons “Farewell, Thou Stream” and “Highland Lassie, O” and plays “I Love My Love in Secret.” He also sings “Lady Mary Ann” to distract his seasick father, and on the night he meets Davina, the ribald Burns song Somerled hums for his own amusement is, appropriately, “Wantonness for Evermair.”

As for fiddle music, Alasdair Fraser’s
Fire and Grace
, recorded with cellist Natalie Haas, inspired me as I wrote the scene with Davina on fiddle and Somerled on violoncello (shortened to
cello
around 1875). ’Tis no surprise our heroine favored the compositions of Niel Gow (1727–1807), Scotland’s most beloved fiddler. Even Robert Burns sang his praises:

Nae fabled wizard’s wand, I trow,

Had e’er the magic airt o’ Gow.

Pete Clark’s
Even Now
is an all-Gow collection of tunes played on Gow’s own fiddle at Blair Castle. The disc closes with “Niel Gow’s

Lament for the Death of His Second Wife,” performed on fiddle and—ah, serendipity—cello. Gow’s fourth son, Nathaniel, composed “The Fairy Dance” for the Fife Hunt in 1802. Played twice in our story by Davina, the spirited reel remains popular among fiddlers today as “Largo’s Fairy Dance.”

Grace in Thine Eyes
includes more figures from history than my previous novels, simply because the histories of Arran and of the Dukes of Hamilton are inseparable, spanning three hundred years. Good Duchess Anne is remembered for her many improvements on Arran in the mid-seventeenth century: Schools were started, churches were built, and a small town was established near her harbor built in Lamlash Bay. My description of Archibald, the ninth Duke of Hamilton, was based on portraiture. For John Fullarton, family records call the captain of the
Wickham
a “dashing naval officer,” and so he is described as such here.

Kilmichael House was built in the summer of 1681 by Alexander Fullarton and Grizel Boyd, his wife, buried in the ancient Kilbride cemetery. Recently the house has been lovingly restored and expanded by owner Geoffrey Botterill to create the Kilmichael House Hotel. I stayed in the stables behind the house—yes,
those
stables—significantly upgraded since they were built in 1716. My heartfelt thanks to Geoffrey, who provided invaluable assistance on the history of Kilmichael and the Fullartons.

One evening while seated in Kilmichael’s second-floor drawing room, I met Brian and Tracy Thompson of Devon, England, who’d braved Goatfell that day and kindly shared their experiences with me. My daughter, Lilly, cleverly suggested the suspicious accident on Goatfell. Imagine my horror when I discovered that a murder occurred on Goatfell in the summer of 1889 with frighteningly similar details. Allan Paterson Milne’s
Arran: An Island’s Story
describes the death of Edwin Rose at the hands of John Laurie. Mr. Rose was last seen alive standing with Mr. Laurie at the summit of Goatfell. “But mist enshrouded the hill top, so that none saw where they went.” The prosecution later stated, “Two young men went up a hill together and only one came down.” Rather too close for comfort, that grisly tale.

Reverend Benjamin Stewart is fictitious, but three generations of
Stewarts ministered under the patronage of the Dukes of Hamilton for more than a century. James Stewart came to Kilbride in 1723; his son, Gershom, stepped into the pulpit thirty years later; then Gershom’s son, John, served Kilbride until 1825. Imagine one family holding sway over a parish for more than a hundred years.

My research efforts on Arran were greatly aided by several exceptional women. Diana McMurray greeted me at the Brodick castle door and pointed me to Eileen McAllister, head guide at the castle, who patiently answered my many questions about the state of the castle in 1808, since in 1844 the tenth Duke of Hamilton greatly expanded and transformed the castle into a splendid year-round residence.

Mrs. McAllister wisely directed me to the Arran Heritage Museum. Grace Small, a very knowledgeable volunteer in the genealogy section, and Jean Glen, her able assistant, slipped white gloves on my hands and presented me with a stack of rare books to peruse to my heart’s content. For their enthusiasm, endless photocopying, and assistance via e-mail, I am most grateful. And in Ayr, Elaine Docherty of the Carnegie Library was especially helpful in the local history section.

Once again, antiquarian bookseller Benny Gillies served as my on-site editor and cartographer; you’ll find his handcrafted maps at the front of the novel. Benny is particularly keen on birding and has tramped across Arran’s hills on many an occasion. His thoughtful input on those subjects and others helped
Grace in Thine Eyes
ring as true as possible. If you enjoy Scottish books and maps, please visit his bookshop online at
www.bennygillies.co.uk
.

Benny is one of many whose hands touched the manuscript long before it was typeset. My deepest thanks to my editorial team: Sara Fortenberry, Dudley Delffs, Carol Bartley, Danelle McCafferty, and Paul Hawley. I’m also grateful for proofreaders like Laura Barker, Leesa Gagel, Nancy Norris, and my own dear husband, Bill, who searched diligently for typos. Our son, Matt, offered his stargazing talents to plot the constellations for the Midsummer Eve sky, Verna McClellan made sure our Crosshill weaver used his loom correctly, Barbara Wiedenbeck of Sonsie Farm checked my shepherding references, and Ginia Hairston provided horseback-riding expertise.

As you may have surmised,
Grace in Thine Eyes
is based on the story of Dinah from Genesis 34—a difficult chapter in the Bible and in history. Several questions may have come to mind while reading Davina’s story, particularly if you know the biblical account. Why, for example, is Davina mute? When I did my biblical research before plotting the novel—a detailed process involving fourteen translations and forty commentaries—I realized that Dinah has no spoken words recorded in Genesis, nor do we see or hear the story from her viewpoint. Davina’s literal silence through laryngeal trauma echoes the figurative silence of her biblical counterpart.

A second concern for readers—and certainly for me as a writer—is the rather abrupt change in Somerled, from rapacious rake to besotted suitor. The Scriptures indicate that’s precisely what happened. “And when Shechem the son of Hamor the Hivite, prince of the country, saw her, he took her, and lay with her, and defiled her” (Genesis 34:2). The stark succession of Hebrew verbs paints a clear picture of the tragic scene. Yet the very next verse reads, “And his soul clave unto Dinah the daughter of Jacob, and he loved the damsel, and spake kindly unto the damsel” (verse 3). Not a typical postrape scenario, to be sure. Furthermore, Shechem is described as “more honourable than all the house of his father” (verse 19). Hence we have the chameleon-like character of Somerled, who “both intrigued and repelled” my editor in chief, and rightly so.

Finally, please know that the biblical parallel ends with
chapter 71
. The closing lines of that chapter are meant to approximate Jacob’s caustic comments to Simeon and Levi—“Ye have troubled me to make me to stink among the inhabitants of the land” (verse 30)—to which his sons responded, much as Will did, “Should he deal with our sister as with an harlot?” (verse 31). In the biblical account, Dinah’s story is left unfinished; we are not told what happened to her after she was taken out of Shechem’s house by her vengeful brothers. Because Dinah’s ending is uncertain,
Grace in Thine Eyes
has a
hopeful
ending rather than the typical
happy
ending. I could not in good conscience stage a wedding when the Bible does not do so, but I certainly could give Davina hope for the future and a secure faith in God.

If you care to explore further the biblical story of Dinah, please visit my Web site:
www.LizCurtisHiggs.com
. You’ll find a free Bible study guide examining Genesis 34, as well as additional historical notes, readers’ comments, a listing of my Scottish resource books, links to my favorite Scottish Web sites, a discography of Celtic music, some tempting Scottish recipes, and Davina’s sketchbook featuring scenes of Arran.

I’m truly honored to hear from readers. If you would enjoy receiving my free newsletter,
The Graceful Heart
, printed and mailed just once a year, or would like free autographed bookplates for any of my novels, please contact me by post:

Liz Curtis Higgs
P.O. Box 43577
Louisville, KY 40253-0577

Or visit my Web site:

www.LizCurtisHiggs.com

If you’ve not read my Scottish trilogy that introduced Leana, Rose, and Jamie, I hope you’ll consider a return visit to Galloway with
Thorn in My Heart, Fair Is the Rose
, and
Whence Came a Prince
. And if you’ve already read that series and wondered why
Grace in Thine Eyes
featured a pair of twins named William and Alexander—the same names used for another pair of twins in
Whence Came a Prince—
I’ve not lost my Scottish marbles, I promise! You will find the answer in this novel, hidden in
chapter 8
. (Don’t you love a treasure hunt?)

Meanwhile, I’m thrilled to be working on a new Scottish historical series for you. Please watch for
Here Burns My Candle
in spring 2008. Until we meet again, dear reader, you are a
blissin
!

Grace in Thine Eyes

R
EADER
’
S
G
UIDE

That is a good book which is opened with expectation and closed with profit.
A
MOS
B
RONSON
A
LCOTT

1. Davina’s inability to speak does not hinder her ability to communicate. How would you describe her “voice,” her personality? In what ways does her muteness shape the story? Consider the crucial events in
Grace in Thine Eyes:
If Davina had been able to speak, how might that have changed things? What is your response to the explanation in the author notes for Davina’s silence?

2. Are Will and Sandy justified in their overprotective attitude toward Davina? Are they to blame for what happened a decade earlier, or was it simply an accident? In the early chapters did you see the twins as misguided but well meaning, or did they appear cruel? As the novel unfolded, how did your opinion of the twins and their motives change?

3. Jamie McKie has a hard time forgiving his sons. Is his reasoning valid? If you’ve faced a similar situation—being asked to forgive a person who deeply wronged someone you love—how did you handle it? Were there moments in the story when Jamie’s behavior angered you? Others when he earned your sympathy? How would you characterize Jamie as a husband? as a father?

4. Unlike her spouse, Leana is patient and grace-giving. In what ways do you admire Leana as a wife? as a mother? How might you identify with her struggles in letting go of her grown children? When does Leana demonstrate her greatest weakness in
Grace in Thine Eyes
? And when is her greatest strength evident?

5. Leana tells her daughter, “Have I ever seen a fairy? Only when I look at you, lass.” According to Eve Blantyre Simpson in
Folk Lore in Lowland Scotland
(1908), a learned Scotsman was asked if he believed in fairies. “The Highlander replied as gravely as if his confession of faith had been challenged, ‘Of course I do.’ ” How do you reconcile people with strong religious beliefs also embracing fairies, kelpies, brownies, and the like? Did you find the fairy lore in this novel fascinating or unsettling? How might such references to the wee folk serve the story and the characterization of Davina in particular?