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<anon I1="BLANK" I2="BLANK">9780385541381|excerpt McMahon / THE INVITED Hattie Breckenridge MAY 19, 1924 It had started when Hattie was a little girl. She'd had a cloth-bodied doll with a porcelain head called Miss Fentwig. Miss Fentwig told her things--things that Hattie had no way of knowing, things that Hattie didn't really want to hear. She felt it deep down inside her in the way that she'd felt things all her life. Her gift. Her curse. One day, Miss Fentwig told her that Hattie's father would be killed, struck by lightning, and that there was nothing Hattie could do. Hattie tried to warn her daddy and her mother. She told them just what Miss Fentwig had said. "Nonsense, child," they said, and sent her to bed without supper for saying such terrible things. Two weeks later, her daddy was dead. Struck by lightning while he was putting his horse in the barn. Everyone started looking at Hattie funny after that. They took Miss Fentwig away from her, but Hattie, she kept hearing voices. The trees talked to her. Rocks and rivers and little shiny green beetles spoke to her. They told her what was to come. You have a gift, the voices told her. But Hattie, she didn't see it that way. Not at first. Not until she learned to control it. Now, today, the voices cried out a warning. First, it was the whisper of the reeds and cattails that grew down at the west end of the bog--a sound others would hear only as dry stalks rubbing together in the wind, but to her they formed a chorus of voices, pleading and desperate: They're coming for you, run! It wasn't just the plants who spoke. The crows cawed out an urgent, hoarse warning. The frogs at the edge of the bog bellowed at her: Hurry, hurry, hurry. Off in the distance, dogs barked, howled: a pack of dogs, moving closer, coming for her. And then there were footsteps, a single runner coming down the path. Hattie was in front of their house, an ax in her hands, splitting wood for the fire. Hattie loved splitting wood: to feel the force of the blows, hear the crack as the ax head hit the wood, splitting it right at the heart. Now she raised the ax defensively, waiting. "Jane?" she called out when she saw her daughter come bursting out of the woods, hair and eyes wild. Her blue flowered dress was torn. Hattie had sewn the dress herself, as she'd made all their clothes, on her mother's old treadle sewing machine with fabric ordered from the Sears, Roebuck catalog. Sometimes Hattie splurged and bought them dresses from the catalog, but they were never as comfortable or durable as the ones she sewed. Hattie lowered the ax. "Where have you been, girl?" she asked her daughter. It was a school day, but Hattie had forbidden her daughter from going to school. And last she knew, Jane was gathering kindling in the woods. Jane opened her mouth to speak, to say, but could not seem to make the words come. Instead, she burst into tears. Hattie set down her ax, went to her, wrapped her arms around Jane's trembling body. Then she smelled the smoke on Jane's dress, in her tangled hair. Even the smoke spoke to her, spun an evil tale. "Jane? What's happened?" Jane reached into the pocket of her dress, pulled out a box of matches. "I've done something wicked," she said. Hattie pushed her away, held tight to her arms, searched her face. Hattie had spent her life interpreting messages and signs, divining the future. But her own flesh and blood, her daughter--her mind was closed to Hattie. Always had been. "Tell me," Hattie said, not wanting to know. "Mama," Jane said, crying. "I'm sorry." Hattie closed her eyes. The dogs were coming closer. Dogs and men who were shouting, crashing through the woods. It had always been funny to Hattie how men who'd spent their whole lives moving through these woods, hunting in them, could move so clumsily, without grace, without any trace of respect for the living things they trod upon. "What will we do?" Jane looked pale and young, much younger than her twelve years. Fear does that to a person: shrinks them down, makes them small and weak. Hattie had learned, over the years, to put her own fears in a box at the back of her mind, to stand tall and brave, to be resilient to whatever enemy presented itself. "You? You'll go hide in the root cellar back where the old house used to be." "But there are spiders down there, Mama! Rats, too!" "Spiders and rats are the least of our concerns. They'll bring you no harm." Unlike the men who are coming now, Hattie thought. The men who are close. Getting closer still. If she listened, she could hear their voices, their shouts. "Cut through the woods to the old place. Climb down into the cellar and bar the door. Open it for no one." "But, Mama--" "Go now. Run! I'll come for you. I'll lead them away, then I'll come back. I'll be back for you, Jane Breckenridge, I swear. Don't you open that cellar door for anyone but me. And, Jane?" "Yes, Mama?" "Don't you be afraid." As if it could be that easy. As if you could banish fear just like that. As if words could have such power. By the time Jane ran down the path, the dogs were coming from the east, from the road that led into the center of town. Old hound dogs, trained to tree bears and coons, but now it was her scent they were after. Don't be afraid, Hattie told herself now. She concentrated on pushing the fear to the back of her mind. She picked up her ax and stood tall. "Witch!" the men who ran after the dogs cried. "Get the witch!" "Murderer!" some cried. "The devil's bride," others said. Ax clenched in her hands, Hattie started off across the bog, knowing the safest path. There were parts that dropped down, went deep; places where springs bubbled up, bringing icy-cold water from deep underground. Healing water. Water that knew things; water that could change you if you'd let it. The peat was spongy beneath her feet, but she moved quickly, surely, leaping like a yearling deer. "There she is!" a man shouted from up ahead of her. And this was not good. She hadn't expected them to come from that direction. In fact, they were coming from all directions. And there were so many more of them than she'd expected. She froze, panicked, as she looked at the circle forming around her, searching for an opening, a way out. She was surrounded by men from the sawmill, men who stood around the potbelly stove at the general store, men who worked for the railroad, men who farmed. And there were women, too. This she should have expected, should have seen coming, but somehow hadn't. When a child's life is lost, it's the mother who bears the most grief, the most fury. The women, Hattie knew, might be more dangerous than the men. Excerpted from The Invited: A Novel by Jennifer McMahon All rights reserved by the original copyright owners. 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Kirkus Book Review
A city couple trades their fast-paced lifestyle for rural Vermont, running headlong into a few ghosts along the way.When her father dies, Helen convinces her husband, Nate, that they should quit their jobs and move to the country to live simpler, more self-sustaining lives. So they buy a plot of land outside a small town and begin building their dream house. Despite the unfriendly reactions of suspicious townspeople, Helen feel like she's found a true homebut someone else already calls this land home. Nearly a century before, Hattie Breckenridge was hanged here for practicing witchcraft; her daughter, Jane, disappeared the same day and was never seen again. When Helen starts finding artifacts that all have some connection to the Breckenridge family, she also, not coincidentally, begins to see their ghosts. Meanwhile, Nate spends more and more time chasing an elusive white deer. As Helen bonds with Olive, a local teenager who has lost her mother, and learns more and more of the Breckenridge history, she realizes that the ghosts are there with a message, though perhaps they want something even more. The setup is familiarsecretive small-town residents with their own painful history resent the influence of outsidersand the early part of the novel lays the foundation for a successful ghost story. Hattie has good reason to want revenge on the town, and maybe Helen will be her conduit. As McMahon's (Burntown, 2017, etc.) novel develops, though, the haunting atmosphere dissipates. The ghosts hardly constitute a presence once Olive's story becomes the driving force for the plot. Of course the ghosts are merely window dressing in the end; it's us humans who are really scary. (Who knew?)Too much wide-eyed sentimentality; not enough creepy malevolence. Copyright Kirkus Reviews, used with permission.