Testimony of an Irish Slave Girl

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This is the story of Cot Daley, a young girl kidnapped from her home in Galway, Ireland, and shipped out to Barbados, where more than fifty thousand Irish sold as indentured servants to the plantation owners of the Caribbean worked the land alongside African slaves. Most of them would never see their families again.
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This is the story of Cot Daley, a young girl kidnapped from her home in Galway, Ireland, and shipped out to Barbados, where more than fifty thousand Irish sold as indentured servants to the plantation owners of the Caribbean worked the land alongside African slaves. Most of them would never see their families again.
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Editorial Reviews

St. Louis Post-Dispatch
...enlightening not only from a historical standpoint, but also from its psychological insights on the relationship between slaves and their owners.
Los Angeles Times
...McCafferty's imagined oral record is convincing — a harrowing tall tale about events too long ignored by textbooks.
Boston Globe
...McCafferty does a remarkably vivid and thorough job of portraying what life was like for the indentured Irish...
New Orleans Times-Picayune
Kidd has written a triumphant coming-of-age novel that speaks to the universal need for love.
Publishers Weekly
Between 1558 and 1603, the British government sought to meet the needs of a growing empire by sending tens of thousands of Irish men, women and children to the New World. They were technically indentured servants not slaves but this distinction was illusory: the initial term of indenture could be extended indefinitely. McCafferty explains this neglected piece of history in the preface to her debut novel. The brief recital of historical facts sets the tone for a story in which much is told and little is shown. This tendency is inherent in the novel's form: most of the tale is delivered as an oral narrative, told by Cot Daley, who was 10 years old when she was kidnapped from Galway and sent to Barbados. Now a young woman, she has been imprisoned for her role in an uprising in which Irish servants and African slaves rebelled against the plantation owners. Cot's largely unrelieved rendition of her life story paragraph after paragraph of her "testimony" never acquires the immediacy of a compelling voice, being more a litany of brutal experiences than an affecting insight into a woman's inner life. Interruptions by a secondary character the British officer interrogating Daley are jarring reminders of the awkward construction. Unfortunately, this form undermines the author's gifts as a stylist. And despite the legendary Celtic propensity for poetic speech, it is hard to believe that an unschooled Irish peasant would say anything even approximating "For once again I felt the manic demiurge called hope." (Feb. 18) Copyright 2001 Cahners Business Information.
Kirkus Reviews
Surefire dramatic material and a hauntingly exotic setting are the most striking features of this debut historical about an Irish girl kidnapped, sold into slavery, and later involved in a failed rebellion against the "plantocracy" that exploits black and white victims alike. The time is the later 17th century, and she who "testifies" is middle-aged Cot Quashey (born Daley), under interrogation by Peter Coote, an "Apothecary-Doctor" also employed as an investigator by the governor of Barbados. As the priggish, thoughtlessly elitist and racist Coote prompts her impatiently, Cot relates the details of her abduction (when she was only ten years old), passage to the West Indies on an overcrowded, stinking "slaver," and twenty-plus years at two sugar plantations, where black African and "dispensable" white slaves labored together, cutting cane and enduring forced cohabitation ("The breeding was an extra duty after a full day in the fields"). Cot's piecemeal tale rises frequently to rhapsodic heights as she recalls the births and losses of her children, and particularly her unexpectedly happy marriage to "Quashey the Coromantee," a black African Muslim regarded as "a man of rank among the bondsfolk" whose elaborate plan to liberate the slaves is brutally put down-yet not before Cot is implicated in the "crime," for which she'll never stop paying. It's an engrossing story, bolstered by an impressive wealth of carefully researched period detail. But it all flashes by too quickly, and McCafferty's very pointed references to Cot's descent from a family of "seanachies" (i.e., bards) do little to dispel the reader's growing sense that the character's voice is an unconvincingly literate stand-in forthe author's, doling out exposition and compacted narrative as if conducting a history lesson. And, once Cot's story reaches the events of the revolt itself, they're presented in inexplicably abrupt summary form. As McCafferty's preface declares, "The Irish perspective is important to the history of resistance to colonialism." For that reason alone, Testimony is well worth reading-though it's not nearly as wonderful as it might have been.
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Product Details

  • ISBN-13: 9780753172148
  • Publisher: ISIS Large Print Books
  • Publication date: 10/28/2005
  • Series: Isis Softcover Series
  • Edition description: Unabridged
  • Pages: 288

Meet the Author

Kate McCafferty was born in the United States and received her Ph.D. in English. Since then she has taught English in colleges all over the world. She has published essays, poems, and short fiction pieces in a number of publications. Testimony of an Irish Slave Girl is her first novel.

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Read an Excerpt

When he has finished attending the select sick of Speightstown Gaol, Peter Coote retires to his office to wash his hands. The slave named Lucy holds a basin of tepid water as he rubs his long fingers with soap, then rinses them. He raises his wet hands as she bends to set the pan on the fieldstones of the floor. Water trickles down his fingers and over his pulse, soaking the thickness of rolled-back linen and lace cuffs, as he waits. The pan scrapes on the floor. The water feels unclean; she moves too slowly, but he tries never to show impatience before an African.

Behind Coote the shutters stand open for any breeze from the garden of fruit trees. His back is to the light coming through the window, so that as Lucy straightens she cannot see his features, only a dark shape of head and body with a thin aura of light around the head. She cannot mark him staring at her hands, pink on the palm, earth-brown and tough from labor on top, as she takes the blue-and-white towel from her shoulder and offers it. She waits in silence as he wipes his hands in the cloth. Then from the dark shape that is his face his thin but pleasant voice says, "Lucy, when we are done, fetch the white woman to me."

"Cot Quashey," Lucy says.

"I believe the only white female on the prisoners' roster is named Cot Daley," Peter corrects cheerfully. He rolls his clammy shirt cuffs down. Lucy tosses the towel over her shoulder once again and bends to lift the basin of soiled water, humming softly. "Before you leave," Coote instructs her, "close the jalousies. No damn use to wait for a breeze. Even the parrots desist their squawking in this heat. Listen . . ."

The slavewoman holds the basin motionlessly. With no reaction at all to his instruction, she stares at the wall to the left of his shoulder and continues to hum. Filtered sunlight limns the soft curve of her young cheek. He feels the usual twinge of irritation at a lack or slowness of response, but turns the feeling into evidence for his hypothesis. Coote is conducting a firsthand inquiry to advise his merchants' group in Bristol, concerning which of the lower races brought to bondage have the ability to focus, concentrate, think, obey, multiply, perform brute rote activity, etc.-and to what degree. Would it not be sound business to know which type of servant to purchase for which sort of work? Near fatal mistakes have been made in the past. He waves toward the window.

Lucy perches the pan on her hip and rolls the wooden slats almost closed with her free hand. When she has left the room, he goes to the escritoire and notes his observations of her "docile slowness" in the margins of the Apothecary's Journal. Then he takes down another ledger which contains the treatments given the sick at Speightstown Gaol and tallies the expenses for the medicaments dispensed this morning. Finished, he puts the ledgers back upon their shelf and pours himself tea before setting out the materials for the upcoming testimony. A batch of parchment. A small pot of squid ink. A wooden box of quills. A tray of white sand.

As he organizes himself he hears the water from the basin being hurled onto the hard-packed clay of the yard. It makes an oval slop, the sound of the shape of its shadow. The sudden action in the sleepy garden disturbs the dozing parrots. They craw and rustle for a moment. The sound their wings make flapping is the sound of something much larger than Peter Coote knows parrot wings to be.

When he is ready he steeples his hands, which emerge from their cuffs of flower-patterned Irish lace, on the thin sheaf of paper. His elbows lean lightly on the arms of a fruitwood chair. When the slave and the prisoner come to the door he says, "Lucy, you may take the tea things." To the other he says gravely, "You may sit down." He has removed a small velvet-backed chair from its place facing the escritoire because he knows the Irishwoman's back is at a stage of suppuration, despite his washes of comfrey and alum. Silk velvet stains easily-he has placed a low backless stool in its place. The prisoner slumps upon it now.

Lucy gathers his tea things onto a tray. Without a word she moves into the shadow of the fieldstone hall. Peter Coote watches her go, marveling at why her buttocks, beneath the rough-spun indigo-dyed petticoat, seem to swell immediately below her waist, perhaps six inches above the position of his own or those of the white woman seated now before him. He has noted this formation in African men as well as women, and postulates that it denotes, or perhaps leads to, a deformation of sensuality.

"Now," he says to the white woman. "You are wise to come forward under the circumstances. The flogging is over and done with, but the exile is yet ahead . . . as it says here, 'in the Caribbe islands, according to the Governor's pleasure.'" He looks up at the woman. He sees nothing; nothing memorable. An aged face and slight body, clad in a gray Osnabruck petticoat bedraggled at the hem. A rough wool shawl draped across the festering shoulders. Skinned-back hair under an unbleached cap makes her cheekbones jut like a red Indian's. The eyebrows are a faded cinnamon, eyelashes so blond they're almost albino. A few snaggled teeth, large pale eyes. To this nothingness he finishes, "And you will want to incur the Governor's pleasure when it comes to selecting your future home. A civilized place like Jamaica, perhaps, where a woman like yourself can earn a living from small barters . . ."

Peter Coote smoothes the lace of his cuffs back from his wrists. He uncaps the jar of ink, positioning it to the upper right of the stack of parchment, and intones, "So then, biddy. Kindly begin your testimony concerning the plot which our Governor has foiled. In which the Irish and the Africans together on this island"-he is writing his own words-"planned to rise up against the masters which God gave you in this life." From the hallway through the open door comes a slight rattle of silver against china. "Lucy! Go away from there," he calls sternly. Bare feet recede down the corridor until their slap diminishes entirely.

"I care not which rock I end my days on," the woman before Peter Coote says suddenly. "But I will tell my story, for my own purposes."

Coote chuckles dryly. "You are hardly in a position to further your own . . . purposes," he remarks after a pause.

The haggard prisoner before him insists, "I am indeed."

"Well what then?" asks Coote, choosing the path to amusement over that to annoyance.

"I will tell the Governor, Colonel Stede-or you as his man-I will give you testimony on one condition."

"And that, pray tell?"

"That it be full testimony. That you record everything I say, not simply what you seek."

"That is the trade?"

"If I'm to sing I must be given your word."

"But . . . what if I don't want to give it?" smiles Coote, lifting his powdered eyebrows toward her quizzically.

"I am ill, sir, who knows that better than yourself? I may have a hard time in the remembering of details," replies the woman curtly.

Everyone knows the transparent craftiness of the Irish. Coote refuses, now, to let his future fall into her hands. The task he's taken on is to serve the Governor by obtaining revelations from the captives who were involved in the latest plot.

"All right. Let us begin," he shrugs, dunking and wiping his quill, "at the beginning. Tell your full name and how came you here, unto this island."

—from Testimony of an Irish Slave Girl by Kate McCafferty, Copyright © February 2002, Viking Press, a member of Penguin Putnam, Inc., used by permission.

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Reading Group Guide


Q> How surprising was it to learn that in the seventeenthcentury the British Empire captured thousands of Irish men, women, and young boys-"tinkers, jugglers, peddlers, wanderings, idle laborers, loiterers, beggars, and such as could not give a good account of themselves" (p. vii)-and shipped them to work as slaves in the Indies? How does this historical episode alter your understanding of more recent conflicts between the British and the Irish?

Q> Why does Kate McCafferty choose to tell this story in the voice of Cot Daley? Why has she structured her narrative around Cot's forced testimony to Peter Coote? What affects does McCafferty achieve through letting us see slave life in Barbados and the failed rebellion of 1675 through Cot's recollection of them?

Q> Cot comes from a long line of seanachies, storytellers who "traveled the world in all its strangeness and brought back its songs, its tales and poetry and wisdom" (p. 5). In what ways is Cot herself a kind of poet? Why does she insist on telling her story the way she wants to tell it, filled with digressions of all kinds, instead of simply giving Coote the information he's after?

Q> What kind of man is Peter Coote? What were his ambitions in coming to Barbados? In what ways is he like Cot Daley? At what points in the novel does he feel empathy and connection with her?

Q> When Coote asks Cot if she "reported Mary Dove's plot because she had borne false witness against you?" Cot replies: "No! None of us had the right to tell the truth. . . . The truth was the creation of our masters" (p. 70). In what sense do masters create the truth? How does Testimony of an Irish Slave Girl itself attempt to subvert the truth such masters have created?

Q> Why does Cot betray the first slave rebellion against Sir Henry Plackler? Why does she so willingly participate in the Coromantee uprising of 1675? How has she changed in the intervening years?

Q> What experiences lead Cot to stop identifying with her masters and begin to see the connections between herself and the African slaves? What does she find she has in common with the Africans? Why are the masters so worried about just such connections?

Q> Testimony of an Irish Slave Girl is a historical novel about Barbados in the seventeenth century, but how is the story it tells relevant to our own time and place? What larger truths does it reveal about human motivations and human relationships? In what sense does Quashey's spirit live on?

Q> Cot tells Coote that "every tribe of people think themselves the yardstick of Creation, and feel fear and distaste and suspicion of outsiders. But still, I tell you this is learned. . . . In right circumstances, things like that melt away like morning haze" (p. 45). Do you agree with Cot's assessment of the origins of prejudice in the above passage? How does the novel dramatize this idea?

Q> At the very end of the novel, when Peter Coote's son sends the manuscript of Cot's testimony to Betty, the narrator tells us that "he hears God laughing. But that's another tale: a tale not recorded here" (p. 204). Why would God laugh at the transmission of this story? How would the tale of that laughter unfold? Why has McCafferty chosen to end her novel in this way?
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Customer Reviews

Average Rating 4.5
( 6 )
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Sort by: Showing all of 6 Customer Reviews
  • Anonymous

    Posted April 20, 2004

    So Incredibly Real...

    this book is incredibly real, and the emotions that are written are breathtaking. The sorrowful lives of the irish slaves are a well kept secret from the world, and this book shines some light on a dark piece of history...The decisions made were just like those a normal human would make...Wonderful Book.

    1 out of 1 people found this review helpful.

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  • Anonymous

    Posted May 18, 2004

    Recommended reading for historical fiction fans

    This book was very well written and researched. The story mirrors the time of slavery in the US, and shows the reader the other side of the story, as written from the slave's point of view and how cruel their world was.

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  • Anonymous

    Posted January 30, 2004

    A great book~

    It was a great book! The author discribed it as if she was really there. Every person who loves reading about slaves will love this book.

    0 out of 1 people found this review helpful.

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  • Anonymous

    Posted December 13, 2001


    Kate McCafferty's first novel is lyrically written and full of interesting tidbits of history, folklore and insights into the lives of slaves. 'Testimony of an Irish Slave Girl' works so well because the choices made in the book are actually choices we make every day. A wonderful choice for a quick read on historical fiction.

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  • Anonymous

    Posted April 12, 2011

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  • Anonymous

    Posted March 3, 2009

    No text was provided for this review.

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