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Our Homesick Songs
Our Homesick Songs
Our Homesick Songs
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Our Homesick Songs

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From Emma Hooper, acclaimed author of Etta and Otto and Russell and James, a People magazine “Pick of the Week,” comes a “haunting fable about the transformative power of hope” (Booklist, starred review) in a charming and mystical story of a family on the edge of extinction.

The Connor family is one of the few that is still left in their idyllic fishing village, Big Running; after the fish mysteriously disappeared, most families had no choice but to relocate and find work elsewhere. Aidan and Martha Connor now spend alternate months of the year working at an energy site up north to support their children, Cora and Finn. But soon the family fears they’ll have to leave Big Running for good. And as the months go on, plagued by romantic temptations new and old, the emotional distance between the once blissful Aidan and Martha only widens.

Between his accordion lessons and reading up on Big Running’s local flora and fauna, eleven-year-old Finn Connor develops an obsession with solving the mystery of the missing fish. Aided by his reclusive music instructor Mrs. Callaghan, Finn thinks he may have discovered a way to find the fish, and in turn, save the only home he’s ever known. While Finn schemes, his sister Cora spends her days decorating the abandoned houses in Big Running with global flair—the baker’s home becomes Italy; the mailman’s, Britain. But it’s clear she’s desperate for a bigger life beyond the shores of her small town. As the streets of Big Running continue to empty Cora takes matters—and her family’s shared destinies—into her own hands.

In Our Homesick Songs, Emma Hooper paints a gorgeous portrait of the Connor family, brilliantly weaving together four different stories and two generations of Connors, full of wonder and hope. Told in Hooper’s signature ethereal style, “this delicate elegy for a dying way of life crescendos into a love song binding family members across the waters” (Kirkus Reviews).
LanguageEnglish
Release dateAug 14, 2018
ISBN9781501124525
Author

Emma Hooper

Raised in Alberta, Canada, Emma Hooper brought her love of music and literature to the UK, where she received a doctorate in Musico-Literary studies at the University of East-Anglia and currently lectures at Bath Spa University. A musician, Emma performs as the solo artist Waitress for the Bees and plays with a number of bands. She lives in Bath, UK, but goes home to Canada to cross-country ski whenever she can. She is the author of Etta and Otto and Russell and James and Our Homesick Songs.

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Rating: 4.068181954545455 out of 5 stars
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  • Rating: 2 out of 5 stars
    2/5
    This just wasn't the right book for me. I was marginally more interested in the story of Finn and Cora than that of their parents, but ultimately I didn't connect with this book and I abandoned it. I received a free copy of this book from the publisher.
  • Rating: 5 out of 5 stars
    5/5
    4.5 "So we're learning homesick songs? All songs are homesick songs, Finn. Even the happy ones? Especially the happy ones.Mermaids, music, folktales and a disappearing way of life. When the cod disappeared from the New Foundland fishing waters, a family tries to do everything they can to hold on to their way of life. So many have left, so many houses are empty, the library boat left unmanned. For young Finn, aged eleven, the thought is unbearable, and he comes up with many different plans to try to keep his family in place. His sister, fifteen has her own plans and his parents take turns, monthly flying to the mainland to work.I wish I could adequately explain how different this authors writing is,so lyrical, and how tenderly she portrays her characters. It is written very much as a fable, as a warning of how we are damaging our world, while reminding us that there are real people involved. A way of life that many had followed for generations, how important are the stories passed on that will also end when the way of life ends. Such loss. Unbearable. Yet, the story ends on a hopeful note.
  • Rating: 5 out of 5 stars
    5/5
    I adored Emma Hooper's first novel Etta and Otto and Russell and James, which I read in 24 hours, and which had me in tears. I finished my review with the words "Read it."So I was super excited to read Hooper's new novel Our Homesick Songs. I had high expectations and was not disappointed. I was enchanted by the writing. The story is set in a small Newfoundland fishing village suffering from the impact of over-fishing by commercial ships that are "big as bergs; monster-big" and able to hold "a whole sea" of fish. Their livelihood over, the villagers leave, going West for jobs on mainland Canada.The Connor family is hanging on. The parents Aiden and Martha share alternating monthly shifts working inland where they are surrounded by concrete, steel, and trucks, the light and noise never-ending. Martha asks a co-worker what it was like "here, before" and he tells her, "There were only trees."Daughter Cora longs to leave the island for a 'normal' life packed with other children. She turns the empty houses into travel destinations. Son Finn loves his home and feels at one with the land. He carries his accordion with him, even on the boat, playing traditional Newfoundland jigs and reels and airs to the open seas and clouded skies around him. He endeavors to bring back the fish, wondering if any are left in the oceans anywhere, and hoping the community will return.The Connor parents work inland with other displaced workers. They are lonely and isolated, forever separated, seeing each other only in passing as they change places at the ferry every month. During their month home, the parents sing less. They return tired and depressed. The stress and distance wear on their marriage.Like Hooper's first novel, there is a touch of magical realism and the characters go on journeys both physical and internal. The parent's charming backstory is sweet and magical, their courting taking place on boats at sea in the night, and includes a treacherous sea journey.The history behind the novel caught my interest: the loss of the cod which was the basis of an entire way of life. A quick Internet search and I learned how overfishing decimated the cod, forcing the Canadian government to enact the 1992 moratorium on cod fishing that left 35,000 Newfoundlanders out of work. The impact on community and family life is portrayed in Our Homesick Songs.Newfoundland is central to the novel, its rocky shores and waters and snow and ice and bergs vividly described. And so is the Celtic music of Newfoundland, brought by the Irish. Social gatherings conclude with music. Finn travels across the water to his music lessons. His elderly teacher Mrs. Callaghan captures his imagination with strange stories about snakes becoming fish and shipwrecks harboring the fish. She tells him that the songs were how the sailors and explorers remembered their homes. They are all homesick songs, even the happy ones, she says. When Finn cannot sleep at night, he calls his teacher and she tells him stories.One song that reoccurs is The Water is Wide, an ancient song from Great Britain, which Aidan sings early in the novel. Others include the love song She's Like the Swallow and fiddle tunes Finn plays such as The Newfoundland Black Bear and The Cotton Grass Air, The Fish of the Sea."No, the dead can't sing, Aidan, that's why the living have to."Aiden has a coffee cup that reads "Squidjiggingground" which is also the name of a song by Arthur Scammell about squid fishermen. The lyrics give a sense of the life that has been lost, the camaraderie and community.Oh this is the place where the fishermen gatherOil-skins and boots and the Cape hands batten down;All sizes of figures with squid lines and jiggers,They congregate here on the Squid-Jiggin' Ground.Some are workin' their jiggers, while others are yarnin',There's some standin' up and there's more lyin' down;While all kinds of fun, jokes, and drinks are begun,As they wait for the squid on the Squid-Jiggin' Ground.The story feels like a tale told by Finn's accordion teacher, a fairy tale with magic feathers and mermaids singing. And like most folk tales, the underlying reality is terrifyingly real. I received a free egalley from the publisher through NetGalley in exchange for a fair and unbiased review.
  • Rating: 4 out of 5 stars
    4/5
    I loved Ms. Hooper's first book, Etta and Otto and Russell and James, and I enjoyed this one, too. This novel tells about the collapse of the cod fishery in Newfoundland, and the closing down of several small villages as people move away to find work.Ten-year-old Finn Connor and his 14-year-old sister, Cora, are members of the last family in their town. Their parents, Martha and Aiden, work in Alberta ; each parent spends one month away and one month home with the children. Cora dreams of a better life, and decorates abandoned houses in the styles of countries she'll never get to visit. Finn tries to lure the fish back using old folk stories and home remedies. Martha and Aiden struggle to keep the family afloat, and to remain loyal to each other while living apart. The story is beautifully told, incorporating legends and music and multiple points of view. It gives the reader a better understanding of what lurks behind the headlines about economic changes.
  • Rating: 4 out of 5 stars
    4/5
    Atmospheric quiet northern tale. Very human.
  • Rating: 2 out of 5 stars
    2/5
    I think it must be me. This book came very highly recommended to me. I just could not engage. The basic plot line was interesting, a declining fishing community in Newfoundland and its residents and traditions. It jumped around in a way that required too much attention to follow. Oh well.
  • Rating: 5 out of 5 stars
    5/5
    I came across this book by chance in a sale and purchased it though I wasn’t previously familiar with the author.This is a unique book, different from any others I have read. It is poetic, in fact in places so poetic and imprecise that I can’t really fathom what is going on, what the author is trying to tell us, since I require concrete, explicit explanations if I’m to understand anything fully.The story tells of a family living by the coast of Newfoundland in 1992/3 – Aidan and Martha and their children, ten year-old Finn and fourteen year-old Cora. Their lives are dominated by the sea; there are stormy nights and singing mermaids.The singing of the mermaids bring out thousands of cod.But the fish disappear; Finn used to count the lights of the fishing-boats but soon they vanish too.Interspersed with accounts of what is happening to the family in the 1990s are sections telling us of Aidan and Martha in their youth and Martha’s three sisters.Martha’s surname is Murphy, she was thirteen when both her parents drowned. Aidan’s surname is Connor, and it is said that all Connors are cheats. With surnames like Murphy and Connor the family must have had Irish forebears.People are leaving their homes. Cora takes over these deserted houses and turns each of them into a country, decorating them appropriately. Aidan and Martha leave too for short periods, taking turns in doing so, perhaps working away from home.The library has also been abandoned and the children are able to use it freely: they carefully register the books they borrow.They all sing and play musical instruments; Finn is taking accordion lessons from Mrs Callaghan who lives alone across the sound from them; he has to row out to her, which is often dangerous because of the stormy weather.At one point Cora runs away. The family is distraught and do what they can to find her, of course. I never found out why Cora left, perhaps just to seek adventure.This is a very readable, enjoyable book about this imaginative, musical, creative family. I would recommend it to other such imaginative souls, in fact to everyone.
  • Rating: 5 out of 5 stars
    5/5
    Amazing writing! The world is falling apart around this Newfoundland family because the cod are gone, but the narrative does not feel hopeless. Instead, there is an easy coast calm, a peace, an optimism that is unique to that part of the country and conveyed in the style of writing. I don't really know what it is about the style, but it was the writing that kept me in the story, more than the story itself. It is the story of a family battered by many storms but still enduring. There is a touch of whimsy because of the children's imagination and tenacity. The parents are disconnected from their childhood selves as only adulthood can make one not child-like, but their backstory is also charming. A delightful sorrowful read.

Book preview

Our Homesick Songs - Emma Hooper

(1993)

There was a mermaid, said Finn.

Yes, said Cora. She pulled an old towel up over her, a blanket.

Out on the dark green night water, said Finn, there was a mermaid. And, because mermaids need to, it sang. Sad songs, homesick songs. Night after night, over a hundred thousand fish. And the only one who could hear it was a girl.

Lonely, said Cora.

Yes, a lonely girl, said Finn. Orphaned. But tying knots and listening to the mermaid sing made her feel a bit better. All through the night, she’d lie awake and knot and listen to the songs.

And then the storm, said Cora.

Yes, the storm, said Finn. There was a storm one night. And the girl couldn’t think of anything but her parents not being there, and the knots weren’t helping as much as they should, and the mermaid was singing and singing, not high and pretty, like you might think, but low and long, like she felt, so the girl got up, out of bed, and followed the song down to the water.

The sea.

Yes, to the sea. Where the storm was wild and it was probably too dangerous—

Definitely—

And it was definitely too dangerous, but she kept going anyway, the mermaid’s singing washing up to her, calling out to her. She walked all the way to the edge of the sea and then, even though it was freezing cold, she took another step into the water. She should have sunk down, but she didn’t. She stayed on the surface.

She what?

She stayed on the surface.

She did? I don’t remember this part . . .

She did. Because the sea was so thick with cod, brought out by the singing, hundreds of thousands of them, she could walk on them, right across their backs, out and out and out toward the song . . .

Oh . . .

And it got louder and louder until it was louder than the wind, until—

• • •

Until she saw it wasn’t a mermaid at all, said Cora.

Yes, said Finn. Until she saw it wasn’t a mermaid. It was Dad. It was our dad. Singing.

Cora and Finn were on the ferry, going west. The sun had set and their parents were asleep, leaning against each other, surrounded by bags and boxes. There was no one else there. It was too foggy to see out the windows, to check for boat lights or anything else. Too quiet and late for music, too much pull of the sea for reading. There was nothing to do but tell stories. Tell this story.

And then? asked Cora.

And then everything, said Finn.

(1992)

The lichen on the rocks were orange and yellow and green. Ten-year-old Finn hopped from one patch to the next. He was wearing his sweater with two jumping fish on it and the zipper pull clicked up and down with every jump. Green, click. Green, click. Yellow, click. Green, click. The wind pushed his hair flat against his forehead.

Up ahead, fourteen-year-old Cora was in the same sweater, only bigger and with caribou instead of fish. They were on their way home from once-a-month school, where all the homeschooled kids in the region met to do some kind of activity or go on some kind of trip. It was funded by the government, as it was cheaper than running a real school for so few of them, and usually involved a trip to the fish plant or step-dancing lessons on someone’s porch. The guides were always just someone’s mom or dad. The government gave them seventy-five dollars to do it, so there were lots of volunteers.

We have to stop at the bakery, Cora called back over her shoulder.

How come?

Mom said.

To get pie?

Yeah.

But it’s nobody’s birthday, is it, or a special occasion?

Don’t think so.

Do we get to choose what kind?

I do.

But I—

I do.

But nobody got to choose, because there was only one. In the whole bakery there was only one pie, with nothing around it and nobody there to sell it. Finn rang the bell and waited. Cora went and sat down at one of the tables in the shop’s café. There was nobody at any of the others.

Eventually, Jack Penney, the baker, came in through the back door with a book under his arm. So sorry, he said. So sorry, so sorry. I’ve been trying to learn big machinery mechanics.

You have big machinery back there? For the bread? asked Finn.

No, it’s a correspondence course, said Jack.

I bet big machinery doesn’t smell as nice as bread, said Cora, from across the room.

No, I don’t think it will, said Jack.

Are you leaving here? asked Finn.

Probably. Probably, yes, said Jack.

They got the only pie, dark berries and dark molasses crust, and continued on toward home.

• • •

Martha, their mother, was outside, fixing bits of board that had blown off the house in the night. Lassie tart, she said. Good choice.

You didn’t give us any money, said Cora. We couldn’t pay for it.

But Penney gave it to you anyway, didn’t he? said Martha, in between hammer strikes.

He said it didn’t matter because he’s going to be rich soon, said Finn.

There you go, said Martha.

Still, said Cora. Still, Mom.

Aidan, their father, was inside, standing by the stove, stirring. Cora put the pie down on the counter beside him. Can I go next door to do my schoolwork? she asked.

Be home by six for dinner, said their father. And careful on the stairs, they might be rotted through by now.

Next door was abandoned. Cora liked to go there and pretend it was hers. What about you, Finn? asked Aidan. You got schoolwork?

No, said Finn.

Accordion practice?

No, said Finn.

You wanna chop carrots?

Sure. Dad?

Yeah?

Why are we having pie and boiled dinner? Is it somebody’s birthday?

We can’t just have nice food sometimes?

We don’t. I mean, we never do, other times.

Well, maybe tonight we just are.

OK, said Finn. And then, It’s nice, Dad. I’m glad we’re doing it. He chopped perfectly round medallions of carrot, like pirate gold.

• • •

It will only be for a month at a time, said Martha.

On and off, said Aidan. One month each, one of us away and one of us back here, here with you.

And we’ll both take some time off for holidays all together, once we’ve saved a bit, said Martha.

And, anyway, it will just be for a little while, said Aidan.

Until things here pick up again.

It’s really no big thing.

No big thing.

Really.

If it’s no big thing, said Cora, then take us with you.

No, said Aidan.

Yes, said Cora.

Not yet, said Martha.

Yes yet, said Cora.

No, said Aidan.

Why are you going? said Finn. He looked up from his plate, where he had arranged his food in piles according to color. Carrots and parsnips here, potatoes, pease pudding and bread pudding there, salt beef in the middle on its own.

Finn, you know why.

But you have jobs, you have jobs here.

We have vocations, said Martha. Not jobs anymore. Nobody needs fishermen when there are no fish to catch, nobody needs nets. You need to be needed to have a job.

To get paid, you mean, said Cora.

Well, said Aidan.

Yes, said Martha.

What will you do? said Finn.

What?

What will you do there that you can’t do here?

We’ll be helping power the whole country, Finn, said Aidan. We’ll—

We’ll be in a tool crib, said Martha. We’ll be handing out tools. And taking them back.

Oil and gas, said Cora, toward the window, away from them. Like everybody else.

To who? said Finn.

To the whole country, the whole world, said Aidan.

To specialists, said Martha. To people who know how to use them.

You’re not specialists?

Not at everything. Not at those things.

Oh, said Finn. He pushed a piece of meat into the carrots pile, into the parsnips. Apart from wind against windows, from forks against plates, it was quiet.

Will you go on a boat? he said.

It’s too far, said Martha. We’ll start on the boat, but then we’ll have to fly.

Finn looked at Cora, then to the window where she was looking. He waited for a bird to pass, but none did. Oh, he said. Wow.

An adventure, right? said Aidan.

Not for us, said Cora.

I guess, said Finn.

• • •

Martha went first.

They drove her to the ferry, all of them in the car, Martha and Aidan in the front, Finn and Cora in the back.

It won’t be for long, said Martha, once they had arrived, taking her bag out of the trunk, after kisses, after good-bye.

Sure, said Cora.

Really, said Aidan.

No big thing, said Martha.

Finn didn’t say anything. Just watched as his mother walked onto the ferry. They’d all been on the ferry hundreds of times. Thousands of times. No Big Thing, he chanted in his head. NoBigThingNoBigThing.

Martha turned around and waved one more time after crossing the heavy steel bridge onto the deck. Finn squinted his eyes and she blended with the boat’s white-paint background, disappeared.

Before driving home, Aidan took a shining silver flask out of the glove box. There was a fish engraved across its front. He took a drink, held it in his mouth, then swallowed and started the car.

Cora stared fixedly out the window, away from her father and away from her brother. Finn tapped his finger against the seat’s vinyl, NoBigThingNoBigThing.

That night, at home, the phone rang. Aidan picked it up downstairs, in the kitchen. Finn picked it up upstairs, in the hall, as quietly as he could, breathing sideways out the corner of his mouth.

Aidan, said Martha, everyone on the flight was from here, going there. Everyone.

The hotel line was fuzzy-quiet, far away.

And, she said, the plane was bumpy, less graceful, than I thought it would be.

And, she said, Aidan, when we arrived and all stepped out and down the airplane stairs and all looked around, looked up, there were no mountains.

Of course not, said Aidan, those are miles away. By Calgary.

I was hoping, said Martha. I thought maybe, in the distance.

I know, said Aidan. But no.

• • •

Finn listened until his father hung up the downstairs phone, until the gentle clatter as Aidan went back to putting away dishes, humming like he always did when he was alone. Finn quietly put down his phone and avoided the two creaky boards on the way back to his room.

Before bed, he ducked his head under his bedroom window’s curtain to count boat lights out on the water. Finn had started doing this when he was three and scared because there were high winds and his father was out on-sea. Cora had come into his room to tell him to shut up because his crying was keeping her awake. She told him he should calm himself by counting boat lights on the water, that shining lights meant safe boats.

So Finn counted every night, no matter if his father was out or not, or if the wind was wild or small. Shining lights mean safe boats. They were like upside-down stars.

Sometimes, if she wasn’t mad at him, Cora would stick her head into Finn’s room and ask, How many?

That first year, Finn would say, Twelve, the highest number he could count to.

And then, two years later, Eight.

And then, Five.

And then, Three, all far away and slow.

Until, six years later, when Finn would squeeze and squint his eyes to try and see one, just one faraway fishing-boat light, and Cora would say, How many?

And Finn would say, One, at least one.

And she would say, Really? Still one?

And he’d say, Yes, I think so, still one.

• • •

Tonight Finn didn’t see any. Not one. Since Cora was already in her room, had gone there as soon as they got back from the ferry and closed the door, there was no one to lie to. Zero, he said quietly to himself. Zero lights. He lay down, pulled up his quilt and, through the pillow and the bed and the floor, listened to the faraway song his father was humming. A familiar, old song. He closed his eyes and let it fill him up, let it spread out and over all his other thoughts, his own heavy heartbeat.

• • •

When Finn woke again it was full night. All dark, all quiet. He listened for Cora or for his father, for humming or breathing or snoring, for something, but there wasn’t anything. He tried closing his eyes again, but the silence was too big, too full. He tried counting boat lights again, but there were none. There was nothing but the always-there wind and the always-there waves and him, just him. Miles from morning. Miles from his mother.

He got out of bed, went to the hallway phone and pulled it as far as it would reach toward his room. He dialed the number off by heart, stretched the curly cord around his door and, leaning on his bed, the farthest he could get without the cord breaking, Finn listened to it ring, one, two, three times. Mrs. Callaghan always answered on the fourth ring. Even if she was right there beside it, she would wait, she would count.

Good evening, Finn, she said. She had a satellite phone. It made everything sound underwater.

Hi, Mrs. Callaghan. Finn was whispering; he didn’t want to wake anyone up. Mom left, he said.

I know, said Mrs. Callaghan.

She’s gone, said Finn.

I know, said Mrs. Callaghan. But not for good.

Still, said Finn.

I know, said Mrs. Callaghan.

Will you tell me the story again?

Their story?

Yeah, said Finn.

OK, said Mrs. Callaghan. But don’t worry if you fall asleep. I’ll just keep going.

Until it’s light?

Until it’s light. I promise. Ready?

Ready.

(1969)

When Aidan Connor turned fourteen, his mother put a navy-blue toque on his head, looked him in the eye and said, Don’t drown.

The boats left at night, just after sunset.

And then he was off, on the rocking, pulling water for eight or ten or twelve days at a time, more of his hours spent on boat than ground. Soon enough, Aidan couldn’t find sleep on land, its rigid stony silence unnatural and unnerving.

• • •

One night, back at his mother’s and unable to sleep, Aidan got up, pulled his fishing coat on over his pajamas and went out. Little Running was a small place, only six houses; if anything was happening he’d be able to tell. Five dark houses, and then the Dwyers’, where the lights were still all on. Aidan walked over and tapped on the kitchen window until Joe Dwyer, big as an iceberg, noticed and opened it.

Evening, said Dwyer.

Evening, said Aidan.

Then Dwyer reached out and down and half helped, half pulled Aidan up and into the drink, the cards, the fire going within.

• • •

Three jacks, said Aidan.

Liar, said Dwyer’s grandmom.

Look, said Aidan, turning his hand around, fanning it out. The cards had shamrocks instead of clubs.

Cheat, said Dwyer’s grandmom. All Connors are cheats.

It was hot in the kitchen, the wood stove was going strong. Aidan wished he could take off his coat, but he only had pajamas on underneath, gray-white and thin.

Are you cheating my grandmom, Connor? said Dwyer. He stood up.

All Connors are cheats, repeated Dwyer’s grandpa.

It felt like all the heat in the room was going straight to Aidan, straight to his head. All Connors are cheats. Everyone was looking at him, waiting. All Connors are cheats. He laid his cards faceup on the table and stood.

Look, he said. Let’s take our money back and start the hand over. Dwyer chuckled a little under his breath and sat down.

Aidan played as poorly as he could, lost five dollars and went home.

• • •

The next night he was assigned to the furthest downwind boat, the SC, Solitary Confinement, because if you were in it you could shout all you wanted but none of the others would ever hear you. Dwyer, who was in charge of allocations, patted the back of Aidan’s coat, making a hand-sized divot in the down. He handed the boy a small flask with a jumping codfish etched on one side, streaked from years of whiskey drippings. And then we’ll call it even, he said.

HELLO! shouted Aidan.

And, AHHHHH!

• • •

And, HELP HELP!

And, AHH! AHH! AHH!

No response from the boats in front. Just their stern lights bobbing calm and regular, from small to smaller. Aidan pulled his jacket sleeves up over his hands and blew warm air into them. The wind pushed against his neck, back toward the Runnings. No one could hear him and, apart from his boat’s two lights, bow and stern, no one could see him. He took a deep breath. The air was cold and fresh as drinking water.

The water is wide

he sang,

I can’t cross o’er

and the wind blew his voice away from him,

Nor have I wings,

still high and young like a boy’s

With which to fly,

he sang,

and sang, and sang, until the sun was up and the nets were down and the golden morning warmth cut through the mist and wind and let him sleep.

• • •

And, because Running Bay’s prevailing winds had a bit of tilt to them, a bit of westward swagger, his voice was pulled across the water and away from Little Running, where his mother and Widow Callaghan and Mrs. Dwyer would have known it to be his, and, instead, landed in the stranger front rooms and bedrooms of Big Running, coaxing the wood fire at the MacDowells’, unnerving the cats picking fish guts on the shore and catching the ear of thirteen-year-old Martha Murphy, who sat up in bed, was still awake, tying and untying knots in a length of rope twine while her sisters slept around her. Oh, she whispered under her breath. Mermaids.

One month earlier, both of Martha’s parents drowned. Or so everyone said. When a body, or two, go out with the boats and don’t come back again after a storm, people say they drowned, even though there are, really, any number of ways they could have lost life. Certainly there are lots of situations where a body, or bodies, end up breathing water instead of air; hurried, panicked lungs sucking it in, spitting it out, sucking it in, spitting it out, until the water makes the body heavy and there’s no power left for spitting. But also, a body can, for example, be tossed up in a big wind and smashed back down again, broken on the wood of her own boat, or maybe something even harder, like a bucket or a mast or an anchor. Or a gust can bring to life something otherwise dead, like a pole or a tool, and it can fly into a skull, crashing and shattering, and that’s that. Or a boat can get pounded into bits by the waves and a body can die of thirst or hunger or loneliness while clutching a bit of floating debris, floating further and further and further out for days and days and days. There are any number of ways a body, or bodies, can die at sea, so people just say drowned to simplify things. Martha Murphy was thirteen years old and had three sisters, two older, one younger, when both her parents drowned.

She was wearing itchy black tights that, as she had grown an inch already this month, were too small for her and pulled down with every step. Over these she wore a black dress that had been her sister’s up until that morning, when she had gone to put on her own and found it indecently short.

Wear mine, said Meredith, her sister, throwing it over her bed onto Martha’s. But don’t give it back. You’ll probably stretch it weird.

What will you wear? said Martha. You don’t have another black one.

I’ll wear Minnie’s. It pretty much fits already.

What will she wear?

Mom’s.

Oh.

And you

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