Category: Year of Wonders

First person narrators often serve as important additions to texts. This is the case in Geraldine Brooks’ Year of Wonders, where the intelligent, authentic voice of the central character Anna Frith added significantly to the story as she described places and people with reliability and consistency. Her balanced views and commentary on her own torrent of emotion throughout the plague year give readers an insight into the plague not replicable by third person writing, and her vivid descriptions of literary devices such as the weather or the nature surrounding her act as important symbols of the text consequently adding greatly to its overall meaning.

If it were not for Anna’s constant, detailed accounts of elements of the nature surrounding her, the text would lack greatly, as her descriptions so often emphasise key ideas of the novel. Weather is a primary example of this, as she reiterates that the plague begins in spring in the very first paragraph of “Spring, 1665” as she explains George Viccars arrived “in the following spring”. This, accompanied by the fact that the plague ended in “apple picking season”, acts to juxtaposition the horrific events of the plague year as the plague begins in the season of life and ends in “leaf fall”. Through this, the randomness of catastrophe is conveyed to readers more completely than simply the unsystematic deaths that occurred throughout the year, and the idea that life continues to exist no matter what is emphasised. When Anna moves to Oran she describes “the dazzle of the sunlight”, and her constant mentioning of words relating to light in this chapter imply Anna has finally found a place of relatively consistent happiness where she can grow without the constant pressure of crisis. Anna’s descriptions of plants throughout the text further add to its meaning, and Elinor’s character is encapsulated by “her little Eden”, described in detail by Anna who paints a vivid picture of the garden and states that “all manners of flowers flourished there”. This reflects the support offered by Elinor to all classes of people throughout the novel, and how her tender care allows characters such as Anna to “shine” far brighter than they thought possible, adding to the character in a way that direct descriptions cannot. Overall, Anna’s contribution to the novel in a symbolic sense is crucial in our understanding of the chaotic plague year and our perception of certain characters.

Anna acts as a reliable narrator further in Year of Wonders through her uncompromised descriptions of people and places, as well as her usage of language made redundant in modern times. When introducing readers to the Bradfords for the first time, the dialogue is littered with adjectives describing the Colonel as “arrogant” and “perverse”. The women of the household are portrayed as possessing “vapid beauty” and as being most “proud” and “sour”. Her rich vocabulary weaves together to paint a sharp picture of the family as a whole, and her continuous descriptions of

all characters involved in the book allows readers to gauge each person’s place in the village and a general overview of their important characteristics in relation to the storyline. Anna paints a similar word picture of the village itself, and readers learn of the “thin thread of dwellings”, as well as the “tilled fields” and “sheer stone face” that rises above the town. This depiction of the village is located early in the novel, assisting in transporting readers to a place very different from their own and adding an authenticity to the novel. Her narration also transports readers to a very different time, mostly through the scattering of vocabulary not familiar to a modern audience that was used heavily in the time of the novels writing. She talks of using her “tallow stub” to give light to her book, and uses words such as “upon” more frequently and in different contexts than it is used now, seen when she articulates that George Viccars dress is “upon my body”. Her descriptive devices and language are essential in enhancing the novel’s plot and in allowing readers to become familiar with a time, place and society strange to them.

Moreover, Anna’s interior monologue greatly enhances the readers understanding of the plague year as they share in the myriad of varied emotions she experiences, and gain an insight into the workings of her sharply intelligent mind. By allowing readers an insight into her personal reactions of the plague year, sympathy is evoked and the novel as a whole becomes more emotive. Firstly, we see her suffer extraordinary anguish at the death of her two young boys, depicted in her grieving tone as she describes “my arms reaching…for my babies…jolting suddenly wakeful when I do not find them”. When her resolve weakens and she resorts to taking poppy in a vain attempt to ease the constant pain that lingers in her subconscious, she feels “the wretchedness of my own selfish scheme”, an emotion shared by readers as they feel compassion towards her moment of weakness and admiration towards her acute self-awareness. She articulates the gradual disintegrating of her faith at several points in the novel as she questions the “dark and light” in which she has been “taught to view the world” and eventually begins to see the plague as “a thing in nature merely”. This allows readers a fascinating insight into the workings of her mind and the rational reasoning behind her eventual turning to “hope”.

Overall, the part Anna plays in narrating Year of Wonders is critical in enhancing readers’ perceptions of the plague, as well as their views on particular characters and understanding of the ultimately optimistic message Brookes hoped to convey. Through her descriptions of the vibrant nature surrounding her and her usage of vocabulary that transports readers to a time far gone the goings on of Anna’s lucid mind allows readers important insights into the goings of the plague year and leads to her acting as an extremely reliable narrator.

Humankind has the capacity to show extraordinary strength and compassion in times of catastrophe. Michael Mompellion in Geraldine Brooks’ “Year of Wonders” is a primary example of such a person, as despite his misguided religious beliefs he possesses a steely determination and desire to help those in need that renders his actions throughout the plague year commendable.

Michael takes on the role of leader in the plague year, a job that comes with much hardship and despair. It is he that encourages the villagers to quarantine themselves from the outside world when they become aware of the plague’s presence, and he uses his sermons to preach this selfless suggestion to many reluctant villagers. He reasons that “because of us, hundreds (may) die who might have lived”, and through protecting outsiders from their village potentially saved the lives of hundreds of strangers. His constant usage of “us” and “our” throughout the sermon suggests he has the best interests of the villagers at heart and that he is purely altruistic in his intentions. As the plague year progresses, he continues to lead the villagers as he brings them together on a regular basis allowing them to stay connected to one another and share in their despair and grief when they most need support. He encourages the villagers to continue to “meet at the Delf” when they feared contagion, keeping them connected through adversity and consequently easing their pain. He is overall quintessential in ensuring the togetherness of the villagers, as he gently led them to each other through torrents of emotion and offered them support and comfort.

Furthermore, Michael is a pillar of astutely comforting words and bottomless empathy as he soothes the dying fruitlessly throughout the text. At its very beginning he pledges that “none should die alone”, a sentiment that proves extremely difficult to follow through with, but he continues to tend to the dying with his unyielding perseverance weighing on him to the point of collapse. He soothes those in bitter pain by reassuring those such as Jacob Merril that “if we slip and fall, He understands our weaknesses”. He attempts to save those lost in bitterness and resentment, including Anna’s very own father when he “tr(ies) to appeal to any shred of good left deep within him” in response to Josiah robbing those on deaths doorstep of their most precious possessions. In his quest to squeeze every ounce of good from each and every person and event in the plague year, Michael made many villagers horrific deaths a little less painful and appealed to the decency in many a lost soul.

His most controversial decision in Year of Wonders was that to force his wife Elinor to remain abstinent in punishment for her premarital affair and consequent terminated pregnancy. From his perspective, “Elinor’s lust caused the loss of a life”, a crime so terrible in the eyes of God that by forcing her to live part of her life with her “lusts unrequited”, he was in fact desperately trying to save her soul so she would go to heaven. While such a punishment is repulsive to modern audiences, Michael believed he was in fact saving his beloved wife, acting in her best interests and assisting her in regaining the respect of God. The fact that he stuck firmly to his “resolve” despite the trials and stress of the plague year is most admirable. When she dies regretful and guilt stricken that he is no longer able to see light amongst the darkness of the plague. His misguided religious beliefs disintegrate with her death and he “feeds on the gall of (his) own grief”. Modelling himself off Anna’s own transformation, he rises from the depths of his despair and once again sees the importance of “bring(ing) life to others”, pledging to continue his caring, kind approach to the villagers and overcoming seemingly insurmountable grief to do so. And so we see that Michael’s punishment of Elinor was an act purely of love, and watch him rise up from his anguish in a most admirable manner as a stronger and more balanced human being.

Michael’s actions throughout the plague year all stem from a place of selflessness and care, as he is portrayed performing admirable deeds on a daily basis by soothing the dying and comforting grief stricken survivors. He has exceptional faith in the goodness of human nature and brings out the best in many. This is encapsulated when he declares, “the plague will make heroes of us all,” a statement that most certainly applies to him.

Crisis inevitably comes with anguish and grief, but it is possible for positive outcomes to stem from such events. The plague year in Geraldine Brooks’ “Year Of Wonders” is a primary example of this phenomenon, as we see devastation unfold that is laced with the brightness of exceptional characters. Despite the deaths of almost a third of the villagers and the near crippling grief experienced by those remaining, the positive transformations and extraordinary strength and positivity seen in certain characters, as well as the new lives that began, offer an optimistic view of humankind.

One of the novel’s key messages is that humankind has an exceptional ability to transform in a positive way. This is primarily shown through Anna’s transformation, as we see her meek exterior dissolve to reveal a vibrant, tenacious woman. She must deal with the restrictive confines of a rigid class system, but with the assistance of the ever understanding Elinor and her growing self-belief she becomes Elinor’s “friend” as opposed to her maid and her “fear” of the Bradford’s turns to pure distaste. This is seen at the novel’s end, where Elizabeth “pushed past” Anna twice throughout their interaction, a gesture that indicates her sheer dismissal of Anna and lack of respect for her. Anna rebutted her rudeness by using the same doorway as Elizabeth, a discrepancy Elizabeth was clearly uncomfortable with, and it was through this small movement that Anna’s steely self-confidence at the plague year’s end was illustrated and her new perspective on the redundancy of social class shown.

Further transformations are seen in Anna’s work life as she begins the novel as a lowly maid, working for the Mompellions and at Bradford hall, and ends it working for an esteemed medical professional. It seemed as though she would simply never have the opportunity to break free of the boundaries placed upon her by her absence of education. Fortunately, “as (Anna) loved to learn, (Elinor) loved to teach”, and it was through Elinor’s patience and knowledge that Anna’s scientific understanding grows to the point where she is able to become a midwife at the novel’s end, moving from “birth to birth” and defying the constrains of her upbringing. Michael Mompellion also undergoes significant change in the text, as his misguided religious beliefs disintegrate with the death of his wife and he “feeds on the gall of (his) own grief”. Modelling himself off Anna’s own transformation, he rises from the depths of his despair and once again sees the importance of “bring(ing) life to others”, pledging to continue his caring, kind approach to the villagers and overcoming seemingly insurmountable grief to do so. Overall, both Anna’s and Michael’s transformations are admirable in their own way and both offer an uplifting message to readers.

As well as demonstrating the incredible transformations people are capable of, Year of Wonders illustrates the power of community and the strength and life that can arise from such togetherness. Michael calms the dying fruitlessly, working himself to the point of collapse to ensure “none should die alone”, and the way in which he sticks doggedly to this pledge shows exceptional strength of will and soothes many souls in their dying moments. Michael also plays a major role in bringing the people of the village together, selflessly encouraging the quarantine potentially saving many lives and “find(ing) words to salve (their) sorrows” as he brought them together to pray and share their grief with one another when they most needed support. Elinor is another character full of warmth and energy, and throughout the course of the novel she shares these traits with all manners of people, her kindness and lack of bias encapsulated by “her little Eden”. The fact that “all manners of flowers flourished there” reflects the support offered by Elinor to all classes of people throughout the novel, and how her tender care allows characters such as Anna to “shine” far brighter than they thought possible. Michael and Elinor bind the community throughout the novel and with the help of others create a sense of unity invaluable during times of catastrophe.

Another uplifting message offered by the novel relates to the cycle of life and death, as the shattered remains of the village continue to be punctuated with bright specks of new life. In the novel’s first chapter Anna describes a walnut shell that “already sprouts a sapling” in the town’s main street, immediately establishing the idea that while numbers of the dead are devastating that life will still flourish in the village as is the inevitable way of nature. In the midst of the plague year when numbers of the dead are rising rapidly and Anna is dealing with the crippling grief of losing loved ones, she assists Mary Hadfield in giving birth to a healthy new born. Anna marvels that “in that season of death, we celebrated a life”, her experience acting as another reminder to readers of the continuation of life. Anna loses both of her children at the beginning of the novel, a heart shattering occurrence that rendered her devastated and alone. The fact that at the novel’s end she takes possession of the Bradfords’ baby further offers the positive message that life goes on no matter what, and that devastation is capable of being punctuated by pure joy. And so “Year of Wonders” ends leaving readers with several indications of the power of life amongst death, celebrating nature’s way of overcoming disaster and offering hope to crushed citizens.

Ultimately, the desolation experienced by many in Geraldine Brooks’ “Year of Wonders” is outweighed by key ideas that offer optimism to readers. Through her depiction of several exceptional characters and focus on representing life as well as death, Brooks creates an uplifting novel full of vibrancy and hope.

Within the Puritan society of the seventeenth century, the fear of the Devil fueled the actions of individuals; this idea is reflected in two significant works of literature, A Year of Wonders by Geraldine Brooks and The Crucible by Arthur Miller. This idea of devilish influence is exemplified by the actions of Josiah Bont (for Brooks) and Abigail Williams (for Miller). On the contrary, the virtuous character of Reverend Hale in The Crucible contradicts this common trait of personal expediency.

Josiah Bont, Anna Frith’s father, found that instead of assisting those who were ill with tasks such as farming, ensuring their deaths would be a much easier way to take their belongings and obtain money. A young girl, Merry Wickford, was left alone and starving upon the death of her entire family. Anna found the young girl and asked for Josiah’s help in retrieving lead from Merry’s family’s mine to pay for food. Unsurprisingly, Josiah refused to help anyone in need. Josiah even went to the extent of burying Christopher Unwin alive in order to steal Christopher’s property. Christopher survived, a turn of events which caused Josiah to receive the ultimate punishment for his wrongdoings: as one village authority states, “And so our code has penalty enough to deter greedy hands. Your hands have been uncommonly greedy” (Brooks 203). The people of Eyam saw that the only fitting punishment was to stab knives through Josiah’s hands so that he could never again use them for theft or selfishness. The loss of Josiah’s hands, perhaps, allowed him to realize that all of the material objects in the world were not worth the cost of his life.

1/2 The Idea of Devilish Influence in ‘A Year of Wonders’ and ‘The Crucible’ Within the Puritan society of the seventeenth century, the fear of the Devil fueled the actions of individuals; this idea is reflected in two significant works of literature, A Year of Wonders by Geraldine Brooks and The Crucible by Arthur Miller. This idea of devilish influence is exemplified by the actions of Josiah Bont (for Brooks) and Abigail Williams (for Miller). On the contrary, the virtuous character of Reverend Hale in The Crucible contradicts this common trait of personal expediency. Josiah Bont, Anna Frith’s father, found that instead of assisting those who were ill with tasks such as farming, ensuring their deaths would be a much easier way to take their belongings and obtain money. A young girl, Merry Wickford, was left alone and starving upon the death of her entire family. Anna found the young girl and asked for Josiah’s help in retrieving lead from Merry’s family’s mine to pay for food. Unsurprisingly, Josiah refused to help anyone in need. Josiah even went to the extent of burying Christopher Unwin alive in order to steal Christopher’s property. Christopher survived, a turn of events which caused Josiah to receive the ultimate punishment for his wrongdoings: as one village authority states, “And so our code has penalty enough to deter greedy hands. Your hands have been uncommonly greedy”. The people of Eyam saw that the only fitting punishment was to stab knives through Josiah’s hands so that he could never again use them for theft or selfishness. The loss of Josiah’s hands, perhaps, allowed him to realize that all of the material objects in the world were not worth the cost of his life. A her love and need to be with him. Seeing the temptress she was, John denied any possibility of a relationship with Abigail. This rejection caused Abigail to become bitter towards him and resulted in Elizabeth’s arrest for witchcraft. Even at the dire end of the play, Abigail feels no remorse for her actions.

During the year 1692, no one was safe from the accusations of witchcraft, not even a Puritan minister. Reverend Hale was a well respected member of the Salem community and a very holy man, so holy that he never had to fear the Devil. His only fear was being shunned by the people of Salem, so he kept quiet about his suspicions that the witchcraft accusations were simply lies. However, he realized by the end of the play that Abigail and her tribe of girls had indeed fabricated all of the accusations. He knew that it was his duty as a man of God to stop the delusions. As a result, Reverend Hale swallowed his pride and attempted to convince Judge Hawthorne that every “witch” was innocent: “HALE. Goody Proctor, I have gone this three month like our Lord into the wilderness. I have sought a Christian way, for damnation’s doubled on a minister who counsels men to lie. HAWTHORNE. It is a lie, you cannot speak of lies. HALE. It is a lie! They are innocent!”. By telling Judge Hawthorne about the girls’ acts, Hale assumed that the people of Salem would respect him for saving them from the real problem: the girls. Unfortunately, he was not taken seriously, and this response caused all of his decisions to be viewed as wrong.

During the year 1692, no one was safe from the accusations of witchcraft, not even a Puritan minister. Reverend Hale was a well respected member of the Salem community and a very holy man, so holy that he never had to fear the Devil. His only fear was being shunned by the people of Salem, so he kept quiet about his suspicions that the witchcraft accusations were simply lies. However, he realized by the end of the play that Abigail and her tribe of girls had indeed fabricated all of the accusations. He knew that it was his duty as a man of God to stop the delusions. As a result, Reverend Hale swallowed his pride and attempted to convince Judge Hawthorne that every “witch” was innocent: “HALE. Goody Proctor, I have gone this three month like our Lord into the wilderness. I have sought a Christian way, for damnation’s doubled on a minister who counsels men to lie. HAWTHORNE. It is a lie, you cannot speak of lies. HALE. It is a lie! They are innocent!”. By telling Judge Hawthorne about the girls’ acts, Hale assumed that the people of Salem would respect him for saving them from the real problem: the girls. Unfortunately, he was not taken seriously, and this response caused all of his decisions to be viewed as wrong.

The results of these characters’ expediencies all ended poorly. Josiah Bont was left to bleed out by his own family because he was taken over by greed. Abigail Williams had to flee Salem and could not end up with her apparent love. Despite his attempts to put others before himself, Reverend Hale could not continue the work of God because of his choice to maintain the good reputation of his name. Even when a character, such as Reverend Hale, tried to value others rather than himself, he still suffered the wrath of the Puritans. His reversal came too late. These characters show that if people do not care about how their actions affect others and only care about themselves, the punishments for these actions are ensured.