Savage Girl [NOOK Book]

Overview

“An over-the-top romp through 1870s America . . . compulsively readable.” —Oprah.com

Jean Zimmerman’s spectacular follow-up to The Orphanmaster has it all: Gilded Age romance, robber baron excess, detective story suspense, and a compelling female protagonist whom readers will fall in love with.

In 1875, the Delegates, an outlandishly wealthy Manhattan couple on a tour of ...
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Savage Girl

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Overview

“An over-the-top romp through 1870s America . . . compulsively readable.” —Oprah.com

Jean Zimmerman’s spectacular follow-up to The Orphanmaster has it all: Gilded Age romance, robber baron excess, detective story suspense, and a compelling female protagonist whom readers will fall in love with.

In 1875, the Delegates, an outlandishly wealthy Manhattan couple on a tour of the American West, seek out a sideshow attraction called “Savage Girl.” Her handlers avow that the wild, seemingly mute Bronwyn has been raised by wolves. Presented with the perfect blank slate to explore the power of civilized nurture, the Delegates take her back east to be introduced into high society. Cleaned up, Bronwyn is blazingly smart and darkly beautiful; as she takes steps toward her grand debut, a series of suitors find her irresistible—and begin to turn up murdered.
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Editorial Reviews

Library Journal
02/01/2014
Wealthy socialite Hugo Delegate and his family rescue the "Savage Girl" from a carnival sideshow and bring her back to their mansion in 1870s New York. Reportedly captured as a child and raised by a Comanche tribe, she instantly captivates Hugo with her boldness and energy. The Delegates undergo a campaign to socialize Savage Girl with limited success. Meanwhile, violence follows this young woman across the country, as men she flirts with end up mutilated and dead. In this follow-up to her acclaimed debut, The Orphanmaster, Zimmerman offers a fanciful and occasionally surreal take on a Gilded Age New York that is reminiscent of Caleb Carr's The Alienist or even Edgar Allan Poe. Most of the novel is narrated by Hugo recounting events in an extended flashback, which feels jarring and out of place. More successful are the action-packed final chapters. VERDICT This is best for fans of Zimmerman's first novel and readers who like their historical novels tinged with darkness. [See Prepub Alert, 10/1/13.]—Laurel Bliss, San Diego State Univ. Lib.
Publishers Weekly
★ 01/13/2014
The prologue of Zimmerman’s superior historical thriller will suck most readers in instantly. On the night of May 19, 1876, 22-year-old Hugo Delegate awaits the arrival of the police at a house overlooking Manhattan’s Gramercy Park, the site of a savage murder committed by either him or a “girl murderess.” Hugo soon reveals that the victim, a “longtime acquaintance and sometime friend,” is but the latest in a series, and after his arrest, he presents the complex backstory to his defense attorney. Flashback to June 1875. Hugo, a Harvard student recently released from a sanatorium, accompanies his family on a cross-country trip. In Virginia City, Nev., he becomes fascinated with a sideshow freak, the so-called Savage Girl, allegedly raised by wolves. Hugo’s parents decide to civilize the girl, and introduce her into society on their return to New York. Zimmerman (The Orphanmaster) keeps the truth hidden until the end, combining suspense with an unsettling look into a tormented mind. Agent: Betsy Lerner, Dunow, Carlson, and Lerner. (Mar.)
Kirkus Reviews
2014-02-06
A formal, measured tempo only heightens the tension in Zimmerman's second historical fiction–cum-thriller (The Orphanmaster, 2012), this one set in the 1870s and concerning a serial killer whose rampage ranges from a rough mining community in Nevada to upper-class Manhattan. The novel opens in 1876 with narrator Hugo Delegate, Harvard-educated scion of one of New York's wealthiest and most socially connected families, locked up for the gruesome murder of another New York dandy. He willingly claims his guilt—though that guilt is far from certain—but his expensive lawyers demand he tell them the true story from the beginning. Hugo starts with his family's visit to Virginia City, Nev., home of his father Freddy's silver mine. Soon, Hugo's parents, eccentric liberals interested in the nurture/nature debate raised by Darwin, are eager to adopt a young girl they have discovered in a Virginia City freak show, the owner of which claims she was raised by wolves. Of unknown origins, she speaks Comanche as well as a smattering of English, and her performance involves a set of mechanical claws and a swimming tank. The girl, whose name turns out to be Bronwyn, travels on the Delegates' private train to New York, where the Delegates plan to put one over on their friends My Fair Lady–style by having her debut as a fashionable young lady. But one grisly murder after another seems to follow in Bronwyn's wake, the victim always a man who has shown his attraction to Bronwyn's considerable charms. Is Bronwyn, with her animallike instincts, the killer? Or is it Hugo, with his past mental problems, his capacity to black out and his love for Bronwyn that borders on jealous insanity? Neither Hugo nor the reader is sure right up to the satisfying if melodramatic end. Zimmerman's dark comedy of manners is an obvious homage to Edith Wharton, a rip-roaring murder mystery more Robert Louis Stevenson than Arthur Conan Doyle and a wonderfully detailed portrait of the political, economic and philosophical issues driving post–Civil War America.
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Product Details

  • ISBN-13: 9781101616321
  • Publisher: Penguin Publishing Group
  • Publication date: 3/6/2014
  • Sold by: Penguin Group
  • Format: eBook
  • Pages: 416
  • Sales rank: 168,592
  • File size: 2 MB

Meet the Author

Jean Zimmerman
Jean Zimmerman is the author The Orphanmaster and several works of nonfiction, including Love Fiercely and The Women of the House. Born in Tarrytown, New York, she is a graduate of Barnard College and Columbia University School of the Arts. She lives in Ossining, New York.
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Read an Excerpt

***This excerpt is from an advance uncorrected proof.***

Copyright © 2014 by Jean Zimmerman

Prologue

Manhattan. May 19, 1876

I wait for the police in the study overlooking Gramercy Park, the body prone on the floor a few feet away. Outside, rain has cooled the green spring evening. In here the heat is stifling.

Midnight. I’ve been in this room before, many times in the course of my twenty-two years. The Turkish rug on the floor, the Empire chairs, the shelves of uncracked books, all familiar to me. A massive mahogany partners desk, from England, in the William IV style, installed as proof of the late victim’s diligence, a rich boy’s insistence that he is, after all, engaged in honest work.

Of the dead man, a schoolmate of mine, I feature two possibilities. She killed him, in which case they will surely hang her. Either that or I killed him, in a fit of madness the specifics of which I have no memory.

This last is not as unlikely as it sounds. I have taken the rest cure for neurasthenia several times and every so often suffer faints, waking to find a small swath of my life gone. Peculiarities of the recent past, a series of strange incidents and dark coincidences, force me at least to entertain the idea that I am a monster.

The fact that in recent months I developed a passionate hatred for the dead man increases the possibility of my involvement in his demise.

On the other hand, if she is indeed the murderer, I can prevent her day of reckoning only by taking the burden of guilt upon myself.

So you see, either way, if I must assume her guilt or confess my own, it works out much the same, demanding identical action on my part. My path is clear. I need to be caught red-handed. I have to wait in this room until discovery, alarm, arrest.

I summon up the mental image of a stern-faced detective with a fat, unkempt mustache. Mr. Hugo Delegate—for that is my name—you must accompany us to the Tombs. Will he place me in restraints? Will it be that bad?

But they will come, rest assured. There are numerous lawmen who would be highly interested in what has occurred on Gramercy Park this evening. From where I sit, I can almost sense them drawing near, having journeyed from all over the country—from Nevada, from Chicago, from Massachusetts and New York—their disparate paths converging at a millionaire’s mansion off a private park in Manhattan.

Not only the constabulary either but the gentlemen of the press, rabid dogs all, will no doubt descend upon the scene of the crime. The pack will be in full howl. From my experience, newsmen are even more relentless than police, profit being superior to justice as a great motivator of human beings.

The witness is a participant, or so my mother once told me. I followed the girl murderess here to this house. It is never difficult to track her. She is oddly without guile, so possessed of a naïve faith that no one would suspect her of crime.

I feel . . . what do I feel? Paralyzed. A sense of impending doom hovers over me like psychosis. Another brief shower patters at the windows. I think of the gentle rain that droppeth in Shakespeare.

The body. My longtime acquaintance and sometime friend, Beverly Ralston Willets, twenty-four years old, or perhaps twenty-three— young anyway. His corpse, in a suit of brown serge.

He has been done as the others have been done. A slashing stab to the femoral artery in the groin, meaning exsanguination within two or three minutes. A blood pool the size of a bathtub stains the twill of the carpet. The killer mutilates the corpus after death.

I position myself so I do not have to directly confront the victim. Close up, death has an arrogant smell. Should I dab some of the gore on my hands, stain the seas scarlet, impress the detectives?

There are a couple of jeroboams of blood in the human body. Six quarts, more or less. This I know because in my classes at Harvard I pursue the study of medicine and practice as an anatomist. I dissect the dead, who do not bleed.

Could not my anatomical work serve as a reason for the authorities to suspect me of this killing? As well as for me to suspect myself?

The prosecutor, in court: Gentlemen of the jury, I submit that Hugo Delegate is a habitual plunderer of men.

I am alone. I am already dead. Perhaps she will murder me in this exact same manner. If not, I’ll almost certainly go away to spend the rest of my life behind bars.

The body emits a horrible, gaseous sigh, startling me out of my musings.

Cocking my right leg over my left, I sit, waiting for them to come. On my way here through the city, I got caught in a spring shower. I occupy my time watching the rain dry on the leather upper of my boot.

Then, later that night, the Tombs, south two miles from the murder scene, on Centre Street in Lower Manhattan. The Halls of Justice. The majority of mortals rightly fear a trip to the prison; it is such a forbidding brick heap, a cold, ugly, heavy-pillared structure as gloomy as its nickname. Where the city’s criminal miscreants (that’s me) languish, and where justice languishes as well.

Not that I know it intimately, but I have been to the Tombs before, too, a couple of times, as an observer. The law grinds on, night and day, pulverizing its victims to dust while elevating others, attorneys and jurists, to heights of wealth and power.

For the Tombs is not just a prison but an all-in-one buttress of justice, with busy courts, jury rooms, clerkdoms, offices for judges and prosecutors, smoky hallways, and deal-making alcoves. A palace of diligence or, if you happen to be wearing police bracelets, a hive of evil.

The building rests upon the site of a former swamp, and it began sinking into the ground immediately upon being erected. Vapors rise continually from its foundations, resembling the fingers of demons, pulling all occupants, willing or not, toward the stinking pits of Lake Avernus.

As I did in the little Gramercy Park study, I wait, having been brought here, yes, in bracelets.

I delight to imagine my lawyers, William Howe and Abraham Hummel, two lords of the Tombs, hurrying to my prison lair.

In the still of the night! At four a.m., the deserted hour, the hour that no one wants!

Such are the benefits of wealth. I am the son of Friedrich Delegate, nephew of Sonny Delegate, grandson of August Delegate, so lawyers hurry through the dark.

The surrounding neighborhood represents the foulest that Manhattan has to offer. The streets are deserted of all honest men at this time of night and the nearby financial district wholly abandoned of its scrivener ants and predatory beetles. In my mind’s eye, I see my attorneys, two figures, one tall and plump, one short and bony, proceed through empty streets.

At the portal of the prison, a uniformed officer of the city sleeps at his post. He wakes, alarmed, at the creak of the massive brass door. “Attorney Howe, sir! Attorney Hummel!” A common enough sight, these two, even in the wee hours, but somehow their arrival is forever unsettling.

Howe is resplendent in dozens of diamonds, which he wears even to bed. Hummel all in black like a crow, observing perpetual mourning, they say, for the death of his conscience.

Deeper and downward they come, closer to where I wait, into the prison’s fetid lower levels, the cramped cell block designated “Murderer’s Row” because it lodges killers. Finally to arrive at an end-of-the- line passageway.

Where I sit, calmly passive, on a rude pallet in a filthy cell, the confessed assassin.

Hugo, Mr. Howe says, wringing his hands and rushing to my side as if I were his dying mother. The man is always a shade histrionic. Abe Hummel a silent shadow beside the talkative Bill Howe.

Howe rails at the turnkey about my accommodations, the scandal of it, treating an eminent scion of Manhattan this way, it is totally outrageous, did he, the turnkey, know who I, meaning me, was, if he, Howe, and his esteemed partner in the law, Hummel, have anything to say about it, the turnkey will soon find himself transferred to outdoor duty at potter’s field on Blackwell’s Island, et cetera, et cetera.

So the three of us, myself and my attorneys, move to more comfortable quarters for our talk.

Upstairs, we pass through dark, echoing halls.

On the way they explain (Howe, that is; Hummel remains mum), that because I had been arrested on a Friday night, they will likely not be able to arrange my bail until Monday.

Three nights in the Tombs. Perhaps a sympathetic judge, and they know many, will see his way clear to hold a special arraignment hearing. If not, they will endeavor to make me as comfortable as they can. Stay by my side through thick and thin. It is best not to be caught in the commission of a crime on the weekend, Howe counsels me.

Four flights up, more empty hallways. A right turn into the offices of the director of the jail. Unoccupied. Howe and Hummel make us at home.

Say nothing to no one except us, Howe says, admonishing. But to us, Hugo, you must tell everything.

Hummel silent as a snake, as usual.

I don’t know where to begin, I say.

It is traditional, in these situations, Howe says, fluttering his hands expansively, to begin at the beginning.

I take a deep breath. There was a cabin in the wilderness of the Washoe, I say, where a headless body was discovered.

Another body, Howe says, a mournful expression on his face.

Yes.

Not the one discovered this night in Gramercy.

No. This is outside Virginia City, Nevada, in the Comstock.

We must interrupt you, Attorney Howe says, twisting his face in little moues of apology. At times I think he has taken Hummel on as partner only so that it might appear natural for him to speak in the royal “we.”

We must ask, Hugo. Did you yourself discover this alleged body?

Well, no, I say.

He asks, Then were you present when the discovery occurred?

Again I say no.

So we must stop you at the outset, Howe says, directing you, in your best interest, not to speculate, not to fabricate, not to re-create scenarios from whole cloth but to stick to the hard fact of what you yourself saw, heard, and experienced, and refrain from flying off half-way across the country to a cabin in the wilderness.

Yet that is where— I start to say, but Howe interrupts.

No, Hugo, no. We must insist. Only that of which you yourself have firsthand knowledge. The truth and only the truth. Out of that we, your duly engaged attorneys, will pick and choose.

I recall a directive of my father’s, coaching me in business practices. It is a good idea, he said, to tell your lawyers everything.

Why do I have to tell it at all? To these men who will never understand, who represent the wider world, that also will never understand?

I begin again, saying, In June of 1875, we made our way down Virginia City’s “A” Street . . .

Part One

In the Drone Cage

1

In June of 1875, we made our way down Virginia City’s “A” Street, proceeding south from the center of town toward the mountains.

Inwardly I had to smile at the picture rendered by our little group. Two women, one earthly, one Celestial. My mother, Anna Maria Delegate, and her lady’s maid from China, Song Tu-Li.

My mother swaddled herself in vast amounts of white satin. Tu-Li wore the blue silk smock of her countrymen, hers rendered in rich brocade, so that at first you might mistake her for a peasant while on closer inspection you would conclude she was a princess.

Then, wandering behind milady and her maid, adding the zest of oddity, the berdache, the Zuni man-woman, Tahktoo. Anatomically male, garmented as a female, an indigene from the deserts of the Arizona Territory.

And me, along on this tour of the American West with my mother and my father, to be shown the family business and be removed from the unhealthy vapors of a New York City warm season. I had been in a sanatorium, down with a woeful bout of disturbed thoughts, restlessness and depression of spirits. Having barely seen the inside of Harvard Hall all spring, I wound up taking a leave from school.

The funny thing, the striking fact of the matter, was that amid the numberless crowds on “A” Street that afternoon, our company elicited not a wayward glance or comment. A Celestial, a man-woman, and two terrestrials, one of them a nutter. Few among the busy rabble noticed us.

In the High Sierra, a brisk, springlike Nevada summer. The crowded, unpaved thoroughfare rang with shouts of teamsters and the noisy leather-and-wood creak of their rigs, the snorting of mules, the excited bellow of commerce. Wide pedestrian walks ran along-side the street in both directions, packed shoulder to shoulder with people.

It astonished me that my mother and Tu-Li were the only women among the multitudes, the only ones on “A” Street, “B” Street or “C” Street either, the only ones in the whole of Virginia City (except, perhaps, those in the very specific red-lit neighborhood down on “D” Street).

Out and about in the mining town, sometimes it seemed that Anna Maria Delegate and her maid were the only females in the newly minted state of Nevada, for that matter the only ones on the whole planet.

My own private musing, of course. I knew that the governor himself had a wife somewhere. And there was “The Mencken,” a performer who strapped herself to the back of a horse in a nude body stocking and did tricks on the stage of Maguire’s Theater.

Still, the unbolted street hordes were entirely male. Prospectors slathered in dried muck. Drunks pickled in tarantula juice. Assorted dips, tossers and clips. Mountain men carrying their Navies on their belts, ready for a quarrel. Mexicans hawking corn flatcakes. Paiutes in rags and fringes. Potbellied nabobs in cutaways.

And Chinese laborers, universally called coolies or, more poetically, Celestials, since they hailed from the Celestial Kingdom.

Any farther from the States, locals said, and you’d fall into the Bay.

We were following Tu-Li to a spectacle of some sort, one that she had discovered but would not describe, keeping us in suspense.

“Where is it?” asked Anna Maria.

“Just ahead, madam,” Tu-Li said.

I have never called my mother “Mother” nor my father “Father” since I was a child. This was at their insistence. Mother was Anna or, more properly, Anna Maria. Father was “Freddy.”

We were “equals, equals!” Freddy informed me, over and over. My parents were much under the sway of Dr. Froebel and the other new child-raising experts. Freddy’s real name was Friedrich-August-Heinrich, too much of a mouthful for anybody.

“My God, what a place this is,” Anna Maria said.

Virginia City was most definitely a “my God” kind of place. Like a riot at a carnival. The north-south avenues in the town were so infernally busy that a buggy could wait a full half hour to cross them. New arrivals and Comstock veterans alike trotted along pushing wheelbarrows piled high with their belongings, weaving in and out amid the wagon traffic.

I amused myself, for a time, by dropping back and walking a few feet behind the cross-dressing berdache, Tahktoo. Passersby, those not too boiled to focus, allowed a look of confusion to pass over their features before they walked on. Was that . . .? Man? Woman? The berdache existed in the crowd like a question mark.

Just then a wild-eyed creature ran pell-mell past us down “A” Street toward the iron-fronted, vaultlike headquarters of Wells Fargo, a handful of blue dirt gripped in his fist, screaming out, “The assay! the assay!”

No one else paid the yowling fellow any mind, but my mother turned her head to follow his progress. He dodged wagons and drays until he disappeared. The assay, the assay. Would he be trampled by mules? Swindled at the government assay office when he attempted to place a valuation on his scrap of ore? Or would he be the newest entry in the swelling ranks of Washoe millionaires?

Virginia—locals dropped the “City”—was a town that drove men mad. There is a hole in the human heart, Anna Maria once informed me, part of her effort to school her son in the ways of the world. It is deep and cold, she said solemnly, and can never be filled.

Except by gold.

From beneath our feet as we walked came the muffled whump-thump of explosions, repeating every few minutes. I could feel the force rise through my ankles. They were blowing apart veins of silver in the mines below the town.

If gold could not be found to fill the hole, then silver might do.

My mother had clearly worn the wrong clothes. Dressing Anna Maria this morning, Tu-Li told her, “You will be the only woman in fashion west of the Mississippi.” Her trailing silk overskirt with its ruffles, pleated frills and ruching, her bonnet, a parasol! All in white. She looked like an angel, a stern angel, the kind that might knock you on your behind.

But here in the Washoe Valley, white was redundant.

The street, the mountain that rose over the town, the canvas wall tents and saloons and banking establishments, and especially the men—all were covered in alkali grit, plaster white, fine as flour, taken up off the ground by the constant, hellish wind, swirling out of the myriad man-made holes in the earth, stinging the eyes, burning the lips, sweeping everywhere before settling on everything like thick cream on a spoon.

Until the whole place resembled a whited sepulcher.

Dust and wind, dust and wind. You went to Virginia and what did you find? Dust and wind.

It hadn’t mattered what my mother wore. She could have been in mourning black and she would have wound up in white. Dust freckled Tu-Li’s blouse of deep indigo blue. A Negro, walking those streets, magically became a white man. Dust lay ankle deep on the porches and walks.

“A” Street, the first thoroughfare settled in Virginia City, was no longer the busiest in town. By 1875 it had been fifteen years since miners carted the first “blue stuff ” out of the earth.

Blue stuff.

Wet, mucky cobalt gravel, at first carelessly discarded, considered only as a waste by-product of the tiny bits of gold-flecked ore it carried within.

Some genius finally bothered to look at the blue stuff closely, and the detritus revealed itself to be silver ore of the highest grade. Silver ore can be made to pay at six-percent purity. This was sixty-eight percent.

Bonanza!

A dismal wagon-track crossroads in the middle of the Nevada nowhere saw itself instantly transformed into a silver-rush boomtown. Within a week after the discovery, “A” Street was packed thick with tents, plain-board shanties, and had wooden-framed storefronts going up.

Virginia. Or the Comstock, for the man who gave his name to the first famous mine. Or the Washoe, for the valley it faced. The Silverland. The residents called it by every name except its own. They cursed it when it came up dry, and worshipped it when it came in blue.

The assay! The assay!

Above the town, silver seekers had carved the slope into numerous narrow ledges, dotted with rictuslike wildcat mines, the face of the mountain eaten away and pitted as if with a wasting disease.

Overhead, the turquoise reaches of the sky flooded with the sparkling sunlight omnipresent in the West. So different from our home in New York City, with its dull cloudscapes in every season, even summer.

But what amplitude Virginia had in sunlight it made up for with a total lack of vegetation. No trees, no shrubbery, no green grass. Only sparse sagebrush, its pungent, earthy scent floating on the ever-present Washoe winds.

“Give way!” came a shout.

We all jumped back, nearly run over by a dray muscling past, its flatbed stacked with gleaming silver bricks under a loose sheet of flapping canvas. The slouch-hatted bullwhacker managed to hold the reins loosely in one hand and a bottle tightly in the other, while his cargo’s guards, two stone-faced men propping scatterguns against their thighs, sat stoically suffering every jolt.

Late afternoon, near the end of the second shift in the mines. The work at extracting wealth from the earth ran on around the clock, day and night, every day of the year. Capitalism, as my political-economy professor at Harvard said, was a perpetual-motion machine.

My mother brushed off the mud that clung to her snow-white hem after the near collision. She stepped forth under the balconies of the flat-fronted buildings, an intrepid schooner navigating between Scylla and Charybdis.

My father styled himself a social scientist, but I considered Anna Maria to be the more discerning observer of the family. The raucous Nevada settlement offered much in the way of spectacle: mansions, parades, cockfights, bear and bull baiting, duels, bicycles, nitroglycerin, wild Indians.

Whiskey over all. Virginia City averaged a booze-soaked murder a day.

We proceeded past the Nevada House, inviting diners to take meals at fifty cents but with a smell of rancid grease wafting from inside that repelled all appetite.

Next door a bounty stockade, stinking also, stack after stack of ill-cured wolf pelts, bearskins, immense piles of mountain lion hides, the maculate coat of a jaguar nailed to the pine-log wall, eagle and hawk carcasses collected in heaps.

A bounty officer lounged at the portal of the place. Hunters got paid in government money (fifteen dollars for a wolf skin, ten dollars for bear or cougar) for their exterminating efforts. Coyote, fox, lynx, bobcat, wolverines. Man the predator clearing out competing predators, claiming his territory.

What really distinguished Virginia was its saloons. We had only recently arrived in town and were staying not more than a week, but I most wanted to investigate these popular gambling-and-drinking venues, the site of so much rascality.

Enter and lose your shirt. Leave and win a kick in the pants.

“I am interested merely as a witness,” I told Anna Maria. “Not as a participant.”

“A witness is a participant,” she said.

The Red Dog. The Old Globe. Bucket of Blood. The Silver Queen. The Suicide Table.

And now, at the far south end of “A,” my personal favorite so far, a dangerous hybrid establishment, Costello’s Saloon and Shooting Gallery. The threshold of the front doorway, I noticed, had been set with dice.

Through the saloon’s single window shone an amber whiskey gleam. A peppering bang of gunshots could be heard from the interior.

“Just ahead, madam,” Tu-Li said, motioning my mother forward. Tu-Li had been out at dawn to bring our garments to the Chinese district to be laundered. There she heard of a place to visit that might attract the curious of mind.

“Just ahead where?” Anna Maria said, halting and holding on to my arm. “There is nowhere else to go.”

“A” Street stopped just past the saloon, dead-ending at the steep rise of the mountain. Above, the ledges and mucked-out mine holes. The men working them appeared, in the slanting afternoon light, like scarabs crawling over the raggy surface of an Egyptian mummy.

Garish billboards punctuated the slope directly above town. Carter’s Livery. Balthazar Bier-Keller. The Melodeon Hall of Dance. A large freshly painted sign for the International, the town’s respectable hotel, in which we had taken a floor.

“Where?” I said.

Tu-Li bowed imperceptibly and motioned with her open palm, a maître d’ showing diners to their table.

An alley ran alongside the saloon. Lined on both sides with carts, booths, tents and hovels, the pathetic offerings of peddlers, hawkers and cheapjacks of the type that crowded the whole town, ancillary commerce to the mines.

At the mouth of the alley, a hand-painted sign.

SAVAGE GIRL, it read.

Or rather the sign had originally spelled out SAVIJ GIR, and then someone with more orthographic sophistication had come along and corrected it.

“Here?” my mother said.

Tu-Li nodded. “You will see,” she said.

The sign, the misspelling and the subsequent rectification somehow struck me as particularly dispiriting. I could read a whole history in it. The entire alleyway stank of poverty, failure and claims that hadn’t proved out. I was ready to pop over to Costello’s for a glass of beer and some target practice.

Upon the apparition of three tourists and a Zuni hermaphrodite approaching the mouth of their little hell, the vendors in the alleyway of broken dreams woke up and began to beckon Anna forward. She was, in her European finery, clearly the mark.

Come buy my patched-together mule harness, come buy my rusty Ames shovel, my mended socks, my rags, my nightmare.

No, no, no. I witnessed my mother at the moment of decision. She would definitely not venture into the little alley.

Tu-Li had led us on a goose chase.

Anna Maria would turn around, push her way down “A” Street, retreat to her hotel suite or, further, to our family’s private railcars, parked on a siding of the Virginia & Truckee line, waiting to whisk her across the endless plains to the East, out of the tiresome, ever-present alkali wind, back to civilization and happiness and our clean, dustfree, sparkling existence in Manhattan.

“No, no, thank you,” Anna said.

“I think you will like it,” said Tu-Li. “It is what you look for.”

“Absolument pas,” Anna said.

But I had a different idea.

Beside the words, the weathered wood of the Savage Girl sign had a smudge upon it. I leaned forward. The sign maker had drawn a picture, very crude, a hairy animal countenance with oversize, oddly human eyes and a woman’s mouth painted in lurid, now-faded red.

The hand of the wind stirred the dust in the little lane. I shivered, feeling a frisson of . . . of exactly what? Fear? Attraction? I couldn’t say.

Anna Maria had planned a rendezvous with my father at the Brilliant Mine just before sunset. We had arranged to meet Freddy after completing our walkabout through town. By the slant of the sun, Anna Maria could see that it was getting close to the agreed-upon time, and she wanted to hustle us along.

“I think I will go down for a peek,” I said. The dirt of the alleyway had been laid with muddy duckboards.

“We must join your father, Hugo,” she said. “Tu-Li, Tahktoo.”

“Come along with me,” I said to Anna Maria. “You who have forced open so many closed doors in your life.”

“Flatterer,” she said.

“Just a brief look,” I said. “Unless you’re fearful.”

She hesitated. Then she took my arm and we headed into the alley. My mother could never resist a challenge.

Avoiding the peddlers tugging at our sleeves, we followed Tu-Li along the little lane. There the alley ended at a tongue-and-groove façade with a plain pine door, two blacked-out and boarded-over windows on either side. A barn of some sort, constructed of exhausted, peeling wood.

The building stood at the bottom of the slope, but the ground behind it fell away into a gulch before rising, so that which we stood before actually represented the building’s second story. My mother looked over to me, on her face a bride-at-the-altar mix of anticipation and disquiet.

The portal’s homely plank boards had a peephole. As I stepped for- ward, the door cracked open.

Blocking the threshold appeared one of the oddest-looking beings I have ever encountered. A human toad of sorts. His slits were like eyes. A white-coated tongue emerged from a lipless mouth, and behold, he spoke.

“We don’t allow no women.”

Addressing my mother, who from my experience was easily up to the task of dealing with wart-giving creatures of all stripes.

“Young man,” she said, giving his humanity the benefit of the doubt, “you must let us in.”

“No women and no Celestials,” the Toad said. He looked at Tu-Li, who stared back at him evenly.

“No women?” Anna said. She pulled the berdache forward. “What about my friend?”

The doorkeeper could not wrap his mind around Tahktoo. I witnessed the tiny engine of the man’s brain seize up and begin to smoke.

We had gotten this far, and we weren’t about to turn back.

Anna Maria said, “I’m entering.”

“We don’t allow no women.”

“Not allowing,” my mother said, “is not allowed.”

More brain sizzle from the doorkeeper. He couldn’t handle that one either.

Then, as if he had been jerked up to heaven by an abrupt act of rapture, the Toad suddenly disappeared with a yelp.

In his place stood a huckster in dundrearies and a blue-checkered suit, smiling, bowing, gesturing us forward. His nostrils flared. He had the look of a man who smelled money.

The Toad might not recognize a three-hundred-dollar silk gown, imported by Anna Maria this year from Worth in Paris, but the huckster most certainly did.

“Madam, madam, please, you are most welcome,” he said, correctly assessing my mother as the true power in the group. “My name is Professor Dr. Calef Scott. I will assure your safety and comfort.”

“Thank you,” Anna Maria said.

“My assistant, Mr. R. T. Flenniken, has his marching orders but, like so many individuals of limited capacities, is burdened by a pronounced inability to modify his instructions with good judgment. In short, he is a fool.”

During this speech he ushered us into his establishment. If his assistant resembled a toad, Scott himself was a stuffed duck.

I waited for my eyes to adjust to the interior but then understood that the barn was not just dim, it was wholly dark. Canvas tent cloth had been stapled to the walls, obstructing the late-afternoon light coming through the gaps in the planking and also, I realized, keeping out the peering eyes of the nonpaying public.

“We ask a small token, madam.” Dr. Scott winked, and my mother pushed a gold eagle into his hand.

It was too much. The dollar entrance fee for each of the four of us, times five. Scott smiled like a happy child.

“This way, if you please,” he said. “I will place you in complete segregation from the hoi polloi.”

We had entered upon a gallery or balcony of some sort, a narrow platform that ran the length of the barn, with a sagging railing marking its far edge.

The gallery gave out onto the two-storied barn proper. We stared down from our second level to the rectangular floor below, thirty by fifty feet, an unswept dirt surface scattered with straw. In one corner stood a large cage, its door haphazardly shut, a soiled blanket tossed over it that obscured its interior, barely visible in the gloom anyway.

On the opposite side of the space from the cage, an odd edifice, a tall, circular galvanized tub, perhaps five feet high and almost the same in diameter, its lip spilling over with water. A stock-dipping tank or some such.

A slim pipe angled down from high on the far side of the barn, eye level with we who stood in the gallery, positioned so that it dribbled an uneven stream of scalding water into the tub. The pipe, and the surface of the bath itself, threw off wisps of steam into the murky shadows of the interior.

Tapping into no doubt one of the myriad local hot springs. The overflow from the tub drained away down a gutter cut into the dirt floor.

“Where is she?” called out a greasy workman among the audience. The five-o’clock show, the second of six performances daily.

The ragged company of spectators packed close to the rail. I counted seventeen of them, with more coming every minute. The dude beside me casually tossed the lit stub of his cheroot to the floor of the gallery, not bothering to stamp it out. I stepped on the burning fag, thinking of the firetrap barn we were crowded into, and the fellow glared at me as though I had somehow trespassed.

Whiskey vapor, tobacco smoke, sweat, exhalations of eggy bad breath. The foul human stink engulfed us more as the audience grew in size.

Far from being made nervous by the hurly-burly around her, my mother assumed an expression of intelligent intellectual engagement, as though she were observing some indigenous foreign tribe, that she might one day lecture upon it.

Dr. Scott maneuvered us to a corner of the gallery, where a chastened R. T. Flenniken, whom it amused the doctor to dress in livery, quickly positioned four rickety wooden chairs, fawning and smiling all the while.

Scott made as if to withdraw but addressed Anna. “Madam, I discern you may be a woman of some parts. If you wish to discuss the natural phenomenon you are about to witness, I will make myself available after the spectacle.”

He backed away, bowing.

Then, at the last moment, his glance fell on me. With the practiced eye of a showman assessing his audience, he gave a secret smile and tugged at my arm. Pulling me away from my mother, he physically positioned me in the absolute far corner of the balcony, right up at the front, shoving aside a drover dressed in chaps to put me there.

“Keep a sharp lookout and you’ll see something,” Scott whispered.

Then he left.

A long, restless beat.

“Where the hell is she?” the workman repeated. “I paid my dollar!”

“Shut up,” someone else said.

By this I understood that the crowd was made up of an uneasy mix of first-timers and regulars.

Directly below us, on the floor of the barn, a torch blazed up in the darkness, wielded by Dr. Scott. He began to speak.

“Gentlemen!” he shouted. Then, with a bow toward my mother, “Ladies.”

He waved his torch in a circle as though it were a baton. The pine-pitch flame traced loops and flowery arcs in the darkness.

“Cast your minds into the blank and trackless emptiness of the Sierra wilderness. Savage, wild, forsaken by God and man. Thronged with ferocious packs of bloodthirsty beasts!”

A high, keening howl tore through the darkness of the barn, and I nearly jumped out of my skin.

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Reading Group Guide

INTRODUCTION

Known as the Savage Girl, Bronwyn is an eighteen-year-old "feral child" who was supposedly raised by wolves in the desert and is starring in a sideshow-typeact in Virginia City, Nevada, when the Delegates-a wealthy family from Manhattan-discover her. The year is 1875, and the Delegates have built a vast fortune on silver mining, giving patriarch Freddy the means to explore his interests in the sciences. Fascinated by what they observe, and hoping to replace a daughter they lost to illness, they whisk Bronwyn away from her exploitative minders and transport her back to New York via their private train, with a plan to civilize and prepare the young woman to become a debutante and dream of a better life.

Only Hugo, their college-age son, questions the wisdom of this scheme. A Harvard anatomy student coping with mental health issues, Hugo is simultaneously drawn to and repulsed by the wild ways of his new "sister," jealous of the attention she is receiving, and concerned about his parents' motives. With a suspicious eye trained on Bronwyn he soon notices that although she is a quick study in speech, manners, and fashion, she leads a secret double life, sneaking away late at night disguised as a boy. More disturbing is the discovery that the men she associates with, one by one, are turning up murdered. As he develops his own feelings for her, he wonders if he will be next.

Meanwhile, with her public debut, Bronwyn becomes the object of tabloid fascination, representing all the material excesses and changing social norms of the Gilded Age. With Hugo's childhood friend Bev Willets helping ease her transformation to society girl, it seems that Bronwyn might actually settle into civilized life.

But when Bev turns up dead, Hugo is arrested. Truly unsure about whether he is responsible for the crime, he decides to take the fall for the person who might be: his beloved Bronwyn. From his prison cell Hugo recounts the story of how Bronwyn came to live with his family and the events that have led up to his confession. Intelligent and observant but fiercely tormented, Hugo must determine his own role in the murders and what future he might have with a girl that no one can seem to control.

Jean Zimmerman's brilliant historical tale marries a riveting murder mystery with thoughtful inquiry into questions of nature versus nurture, colonization, and multiculturalism. Rich with lively characterization and convincing detail, Savage Girl is that rare novel that is as enlightening as it is entertaining.

ABOUT JEAN ZIMMERMAN

Jean Zimmerman is a New York-based writer who has made the history of Manhattan a central focus in her many books. She is the author of the novel The Orphanmaster, as well as several works of nonfiction, including Love, Fiercely: A Gilded Age Romance and The Women of the House: How a Colonial She-Merchant Built a Mansion, a Fortune, and a Dynasty. An honors graduate of Barnard College, Zimmerman earned a graduate degree in writing from Columbia University. She lives with her family in Westchester County, New York.

A CONVERSATION WITH JEAN ZIMMERMAN

What drew you to write about a feral girl and the wealthy family who tries to adopt her?

I'd always wanted to write about a wolf girl, that is, one afflicted with the genetic condition known as hypertrichosis that causes a person to resemble an animal in the growth of fur all over the body. Many children with the problem were exhibited in American sideshows in an earlier period. Related in my mind was the phenomenon of so-called feral children, a girl or a boy purported to be raised in a wolf pack, tales of which have come down through the ages. I ultimately crashed these two ideas together in Savage Girl. My story plunks down a mysterious sideshow waif (minus the fur) in the middle of high-society New York in 1875. I liked the contrast between the lavish life of the Delegates and the girl who has come from what they would see as nothing. Our heroine is thought to have been raised in the wild, perhaps by wolves, and her physicality and force of personality goes against the "shrinking violet" femininity of the day.

What sort of research did you need to do to create a believable world around your narrative? What were some of the most surprising facts you uncovered?

I had previously written a dual biography of a Victorian scion named I. N. Phelps Stokes and his wife, Edith Minturn (Love, Fiercely: A Gilded Age Romance). So I had done a good deal of research into the so-called uppertens, the top ten percent of the period-the very wealthy, the denizens of mansions and ballrooms and country houses-all of which the material pertained to. In addition I dove into all I could find about feral children, railroad expansion, silver boomtowns, anatomical science, manufacturing tycoons, women's high society roles and fashions, and of course everything about the history of nineteenth-century high-society in New York. The nature/nurture debate really was raging, Darwin was new and controversial, so in general the historical context was as accurate as I could make it. Virginia City as I describe it has elements of Mark Twain's Roughing It, his memoir of spending time there as a cub reporter. The Philadelphia fair was real, and I describe many of the actual exhibits.

A few things surprised me as I went along. One was the figure of the berdache, a Zuni "man-woman," which was based in actual social history. Another was the tigon, an animal I hadn't known about before but which really existed in the Central Park Zoo at one point. Also the idea that mules turned the Central Park Carousel, plodding beneath the wooden flooring to spin the decorative horses above-I had heard tales about them, but I had to double and triple check to make sure this was true, as it seemed so strange.

Early on Freddy Delegate says, "You see the wild in collision with the domesticated," which could be an epigraph for the novel. Can you talk about this idea and what it means to you?

You do see the two posited against each other in Savage Girl. The Delegate family couldn't be any more civilized, with their mansions, their private train, their afternoon tea and their ideas about what constitutes the proper life of a young lady. I think this is true for most of us today, even if we're not so rich: we try to lead civilized lives. But the wild is always there, lurking in the shadows and in our psyches, hard to control. And sometimes, as in Savage Girl, there is a positive element to wildness. Thoreau certainly thought so when he wrote, "How near to good is what is wild!" the meaning of which Hugo and his friends debate on a camping trip. There are a number of in-between or hybrid characters in the book, like the berdache, Tu Li and even the tigon. I hope that when we hear what really happened to Bronwyn when she was young we don't judge her wildness in a negative way. Growing up in the wild made her a strong person, true to herself, contrasted with the Delegates' artificiality and pretense.

Freddy is a complicated character-his progressive ideals don't always justify what could be seen as attempts to colonize his wards like Tahktoo and Bronywn. As the creator of this character, how did your opinion of him evolve over the course of writing the book?

Because Freddy believes that both his ideals and his world are correct and proper, he sees nothing wrong with adopting others like Tahktoo and Tu Li into his life. And they are willing to go along with him voluntarily-it's a meal ticket among other things. To me he started out seeming like a decent enough guy. It gets trickier with Bronwyn, who doesn't conform to Freddy's rules. When we hear of his probable willingness to cut her loose when she inconveniences him, we see his darker side, as we see his morality shift toward the end of the book with the big secret he reveals. He evolved for me over the course of the writing from a benign paterfamilias to something much more complex. And his progressive ideals get a harsh dose of reality.

Hugo has an ambivalent relationship with his father. How was this important for the story narratively and metaphorically?

Hugo admires Freddy and wants to live up to Freddy's expectations. At the same time, he desperately wants to carve out an independent life for himself. He is anxious to be a grown man, yet he is still immature in many ways. As for Freddy, more than anything else he is somewhat oblivious to his son-his narcissim wins out over his love for Hugo much of the time. The Bronwyn project becomes a way for Hugo to prove to his father-and himself-that he is worthy. It's a way to bond. That Hugo falls in love was not the expected outcome.

Hugo has a stylized manner of narrating the story-how did you find the voice of a nineteenth-century silver scion, and how did it change through revisions? What other resources did you use as preparation?

Writing a novel is always about finding the voice, and it wasn't immediately apparent that Hugo Delegate should be the one telling the story in Savage Girl. Once he started talking, though, there was no shutting him up. I wanted to create a quasi-Victorian tone, one that would remind you of a book like Frankenstein, yet not be too distracting. The plot required a contemporary momentum as well. Then there was the question of figuring out which parts of the action he would be able to see and describe, because all the narrative comes through him. It was like writing in handcuffs. In other ways I found the "I" voice to be easier and more focused, but carrying Hugo's anguished perspective for the whole book was a little exhausting at times.

What did the murder plot add to what you wanted to do with the feral child theme?

A random killing here and there really focuses a narrative. We don't know who is committing the murders in Savage Girl, but indications point to Bronwyn. And with good reason. I learned that children raised in the wild are both incredibly independent and terrifically lonely. Everything is strange to them. Then they might become famous, receiving the attention of scientists down to the hoi polloi-and fame is pretty much the opposite of anything they've ever experienced. The rest of the world sees the feral child as a blank slate upon which to write its theories, but the feral child is simply a person, often one who is in pain. It's a recipe for deep unhappiness in almost all cases. The historical record shows that feral children were prone to violent outbursts. The only way Bronwyn can deal with the puzzle of her origins is through her sharp wit and force of personality. But that strong character is also the source of friction between her and the world. The upheavals that follow her everywhere, the murders and the mysteries, demonstrate her distance from a society we think of as civilized.

Hugo is a fictional character, but he interfaces with historical personages, including William and Alice James and Teddy Roosevelt. Why did you choose to incorporate real-life people in the book?

Adding in some real people enlivened the story, I thought, and it was a pleasure to imagine this questing scion going to William James and his sister, Alice, for advice when he was in a bad way. It sort of leavened the cake of the narrative. Likewise, the supposedly villainous Madame Restell, an important figure of the day, plays a part at a crucial juncture in the story. The attorneys Howe and Hummel were about as central to the crime and punishment of the era as you could get, and I think from the historical record I got them about right, outlandish as they might seem. Victoria Woodhull, a free-love proponent who is a character in the book, was also a leading, scandalous light of the day, devoted to exposing the world of the "fashionables" and helpful for me in showing what might be an alternative lifestyle for young women as they approached maturity.

Bronwyn's transformation to a debutante brings to mind stories like Pygmalion. Why do we enjoy seeing characters undergoing extreme makeovers? What are the inherent dangers involved in trying to change someone so profoundly?

There are very few stories that are universal, but the Cinderella narrative is one, present in pretty much all cultures. I found the debutante to be a fascinating creature and the Pygmalion-style coming-out process one that was as constricting as it was lovely. It's all about transformation. The hoops through which a girl jumped represented a coming-of-age ritual, ushering her into adulthood. Bronwyn learns to dress like a lady, with Parisian gowns, weighty crinolines and bustles and trains. It's all gorgeous stuff but a lot to haul. She has to learn how to move in a certain way and speak in a certain way if she is to appear at her coming-out ball and hopefully win the attentions of an eligible man. Her appearance and her manners are critical calling cards. Without them there is the dire possibility that she might not marry.

So while Bronwyn obtains a fantastic wardrobe in anticipation of her debut that may incite envy, there's a trade-off. With every step she takes toward becoming a model debutante she loses some freedom. That trade-off is the central problem in the story, and it really moved me as I was working on the novel. I wanted to search beneath the opaque surface of the debuting process, the Pygmalion trope, to find deeper meanings. That meant talking about both corsets and bloomers.

You have written two different novels set in New York now. What interests you most about this city's history? Can readers expect more Manhattan books from you in the future?

Savage Girl starts out in the western territories, in Virginia City, Nevada, but the Delegates hightail it back to Manhattan where they feel they belong. I guess I feel I belong there, too. For me there's no locale more fascinating, in any era. The brilliance of its people, the magnificent built environment, the grit and the money. It's the center of the universe. And in Savage Girl we have the Gilded Age, the term coined by Mark Twain as a satirical jab, suggesting the superficiality and falsity of the period. Late nineteenth-century houses, dresses, jewels, manners all whetted my appetite. Yet 1875 specifically seemed somehow magical, this prelapsarian period before the flood of modernity, before electric lights, automobiles, widespread indoor plumbing, skyscrapers taller than ten stories. This was an especially interesting time, in part because the Civil War had just dipped New York in blood along with the rest of the country. I've always loved Wharton and James, and writing Savage Girl allowed me to enter their world as a humble supplicant. Still, this was a time when three-quarters of the population lived on less than one dollar a day, and that's telling, also. The people who suffered deprivation were agog at people like the Delegates.

My next novel, King Never, is set in Revolutionary War-era New York City, occupied by the British for eight long years, during which time the redcoats had the run of the place and there was lots of intrigue and hardship as well as cowardice and heroism. And fabulous cotillions. There will be some amazing characters, including a young female spy who operates as a midwife to get through enemy lines and an African-American harbormaster who knows where all the bodies are buried.

DISCUSSION QUESTIONS

  • From the first moment he hears of her, Hugo is conflicted about the concept of a "savage girl." What draws him to her and what troubles him specifically?
  • How does Bronwyn benefit, if at all, from being adopted by the Delegates?
  • Hugo is an anatomy student at Harvard. What role does this knowledge play throughout the story?
  • Freddy Delegate is said to "collect" people. Who does he collect and for what purpose?
  • How does the Delegates' wealth protect them? How does it hurt them?
  • There are overt references in Savage Girl to Mary Shelley's Frankenstein. What other literary parallels could you draw between this story and others?
  • Delegate is not sure whether he committed the murder of Bev Willets because of his memory lapses, diagnosed as neurasthenia. What sort of diagnosis might he be given today?
  • Zimmerman finds contemporary themes in her historic story, such as the concentration of wealth among the select few and a tabloid celebrity culture. What are some other themes that might resonate with today's readers?
  • One of the great moments of the Gilded Age was the emergence of Darwin's theory and the question of nature versus nurture. How does the book explore this issue, and what is your own personal belief?
  • Hugo's mental health issues make him something of an unreliable narrator at times. Where in the story did you most question his version of reality?
  • What does the future hold for Hugo and Bronwyn at the book's end?
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Customer Reviews

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Sort by: Showing all of 4 Customer Reviews
  • Posted March 17, 2014

    more from this reviewer

    Set in late 1800¿s America, Jean Zimmerman's SAVAGE GIRL is a sw

    Set in late 1800’s America, Jean Zimmerman's SAVAGE GIRL is a sweeping novel that will take readers from the wild west to the gilded era of Manhattan. 




    Hugo Delegate is the son of an incredibly wealthy father. He suffers from blackouts that affect his education. After he drops out of Harvard, he joins his parents on a trip to the western United States by railway car. There he encounters a travelling road show where he meets a young woman raised by wolves. The family takes in the young woman, named Bronwyn. They are determined to civilize her until she can be ultimately released into the highest levels of society. Bronwyn not only takes well to her new life, but it soon becomes clear she has her own plans. As Hugo’s fondness for Bronwyn progresses into love, he is mystified by a chain of murders that occur in places recently frequented by Bronwyn. His love is so profound, he seeks to cover her tracks.




    The characters in this novel are completely unpredictable and highly faulted. Their actions left me in a state of steady conflict and guessing. No one seems normal. Bronwyn is a character of darkness and light, while Hugo is both steady and weak in many ways. That makes them very real and credible. The plot unfolds steadily, brilliantly, and I was left guessing as to the real truth behind the murders until the end. Of course, plot is wonderfully appealing, engaging me from start to finish. If you like tales with a touch of the unusual, of dark secrets and deep mysteries, and about the extremes of wealth and poverty and intriguing settings, then this book will definitely please.  

    2 out of 2 people found this review helpful.

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  • Posted March 14, 2014

    It really took me a while to get used to the prose. At times the

    It really took me a while to get used to the prose. At times the descriptions would be quite poetic. (Page 80: No other landscape I had ever experienced more proved the point that beauty and terror are sisters. I stared out at the desert and felt its challenge.)
    I liked the historical fiction aspect when it came to reading about America's landscape and city life in the late 1800's. However, the author would get too carried away until it became a rambling tangent that interrupted the narrative. It also did not make it easier to read when it came to Hugo's present day confession and the words exchanged between Hugo and his laywers were not in quotations. I often had to reread paragraphs to figure out what was said out loud and by whom.
    I understand why Hugo was the narrator, it is a confession after all and makes for an interesting twist, but I often found him unlikable. Also, when he was not at home with Bronwyn I found him a bit dull. I was curious to see Bronwyn's transformation through another character's point of view. Perhaps Tu-Li or Tahktoo. 
    All that being said, I pushed through. I found it picked up in Part 2 and became an interesting mystery. I liked the philosophical nature vs. nurture brought up in the story.  I enjoyed the story and am glad I pushed through to finish it, but I cannot say I loved it.

    2 out of 2 people found this review helpful.

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  • Posted April 6, 2014

    I am writing this review as a gentle rain falls. If you have bee

    I am writing this review as a gentle rain falls. If you have been outside before a rainfall in the spring, you might have noticed
    the fresh, sweet smell that seeps into the air just before the first drops of rain begin to fall. The rainfall put me in the right frame of
    mind to write this review of “Savage Girl”.Jean Zimmerman is a very talented author who makes the history of Manhattan a central focus of her fiction and nonfiction books. The path is clear in this novel. This savage girl cannot be tamed. She needs to be caught red-handed. A sense of impending doom
    hovers like psychosis. The savage girl is raised out in the wild of nature by carnivores. She was fortunate in being adopted by a wealthy couple,
    which brought her many benefits but also lured some unsuspecting lovers to their deaths.These are my own musings, of course. I liked the characters, and I think you will like it too. It is 400 plus pages, but it is a novel
    you might be looking for in a love story, combined with mystery. it is a novel that is well-written. I especially loved the ending.I think you like this suspenseful, fine work of art.Jeannie Walker (Award-Winning Author) 

    1 out of 1 people found this review helpful.

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  • Posted March 11, 2014

    more from this reviewer

    This book perplexed me and at times made me smile. I was all ove

    This book perplexed me and at times made me smile. I was all over the place trying to figure it out. I was led down many a wrong path trying to figure out just who is the serial killer in this book.
    I love the premise of the wild child found, brought into society and then what happens to her and everyone around her as a result. This book has a wealth of information in it about the ultra rich and very disconnected scions of society in New York and how everyone followed the petty whims of the very rich back in the day.
    I would like to say had Bronwyn been more forthcoming with Hugo at some point he wouldn't have been so crazed all the time, that being said, I think more of what and who Bronwyn was or where she was coming from might have also made for a more enjoyable read.
    Like Hugo I felt left out at times, discombobulated, floundering and not knowing if I should put the book down or just turn the page!
    This is mainly a book about the ultra wealthy Hugo, son of the wealthy Delegate family in Manhattan circa 1875, who when on a family trip to Nevada, they come upon a female wild child in a side show act who had allegedly been raised by wolves with razor like claws made especially for her and her wild girl side show act . Hugo immediately feels an affinity, a pull he can't explain with this wild child and this almost becomes his undoing.
    The family decides to "buy" her and take her on as their new pet project having done so many times before with other oddities of the population who have since become members of their ultra rich entourage and they try to make her a part of a family that they think anyone in their right mind would love to be a part of. Right mind being a key word here...
    They soon find their "Savage Girl" is a very capable, secretive, independent and extremely functional girl in any situation, she can & does run circles around her new family and the people she meets. She tells them she remembers her name is Bronwyn and after that she is clothed and readied for society but, is society ready for her?
    There are people sneaking in and out at night, including Bronwyn, Strange goings on that happen in the dark in the huge Delegate home or citadel as it is known. Soon men who have admired Bronwyn and paid her attention start to turn up dead and mutilated all over town. Who could be doing this? Is it Hugo, who is consumed with jealousy, falling hard for his savage girl or is it the savage girl herself who can not be tamed by money or society?
    This is something you will be puzzling out throughout the book, wondering who is the savage killer on the loose...

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