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NATIONAL BESTSELLER • This modern classic from the author of The Flight Attendant is a compulsively readable novel that explores questions of human responsibility that are as fundamental to our society now as they were when the book was first published. A selection of Oprah's original Book Club that has sold more than two million copies.
On an icy winter night in an isolated house in rural Vermont, a seasoned midwife named Sibyl Danforth takes desperate measures to save a baby’s life. She performs an emergency cesarean section on a mother she believes has died of stroke. But what if—as Sibyl's assistant later charges—the patient wasn't already dead? The ensuing trial bears the earmarks of a witch hunt, forcing Sibyl to face the antagonism of the law, the hostility of traditional doctors, and the accusations of her own conscience. Exploring the complex and emotional decisions surrounding childbirth, Midwives engages, moves, and transfixes us as only the very best novels ever do.
Look for Chris Bohjalian's new novel, The Lioness!
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Über die Autorin bzw. den Autor
CHRIS BOHJALIAN is the #1 New York Times bestselling author of twenty-three books, including Hour of the Witch, The Red Lotus, Midwives, and The Flight Attendant, which has been made into an HBO Max limited series starring Kaley Cuoco. His other books include The Guest Room; Close Your Eyes, Hold Hands; The Sandcastle Girls; Skeletons at the Feast; and The Double Bind. His novels Secrets of Eden, Midwives, and Past the Bleachers were made into movies, and his work has been translated into more than thirty-five languages. He is also a playwright (Wingspan and Midwives). He lives in Vermont and can be found on Facebook, Instagram, Twitter, Litsy, and Goodreads, @chrisbohjalian
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In the winter of 1981, trapped by unpassable roads, midwife Sibyl Danforth makes a life-altering decision when she performs an emergency cesarean section on a woman she fears has died of a stroke.
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Throughout the long summer before my mother's trial began, and then during those crisp days in the fall when her life was paraded publicly before the county--her character lynched, her wisdom impugned--I overheard much more than my parents realized, and I understood more than they would have liked.
Through the register in the floor of my bedroom I could listen to the discussions my parents would have with my mother's attorney in the den late at night, after the adults had assumed I'd been sleeping for hours. If the three of them happened to be in the suite off the kitchen my mother used as her office and examining room, perhaps searching for an old document in her records or a patient's prenatal history, I would lie on the bathroom floor above them and listen as their words traveled up to me through the holes that had been cut for the water pipes to the sink. And while I never went so far as to lift the receiver of an upstairs telephone when I heard my mother speaking on the kitchen extension, often I stepped silently down the stairs until I could hear every word that she said. I must have listened to dozens of phone conversations this way--standing completely still on the bottom step, invisible from the kitchen because the phone cord stretched barely six feet--and by the time the trial began, I believe I could have reconstructed almost exactly what the lawyer, friend, or midwife was saying at the other end of the line.
I was always an avid parent watcher, but in those months surrounding the trial I became especially fanatic. I monitored their fights, and noted how the arguments grew nasty fast under pressure; I listened to them apologize, one of them often sobbing, and then I'd wait for the more muffled (but still decipherable) sounds they would make when they would climb into bed and make love. I caught the gist of their debates with doctors and lawyers, I understood why some witnesses would be more damning than others, I learned to hate people I'd never met and whose faces I'd never seen. The state's medical examiner. The state's attorney. An apparently expert midwife from Washington, D.C.
The morning the judge gave the jury its instructions and sent them away to decide my mother's fate, I overheard her attorney explain to my parents what he said was one of the great myths in litigation: You can tell what a jury has decided the moment they reenter the courtroom after their deliberations, by the way they look at the defendant. Or refuse to look at him. But don't believe it, he told them. It's just a myth.
I was fourteen years old that fall, however, and it sounded like more than a myth to me. It had that ring of truth to it that I heard in many wives'--and midwives'--tales, a core of common sense hardened firm by centuries of observation. Babies come when the moon is full. If the boiled potatoes burn, it'll rain before dark. A bushy caterpillar's a sign of a cold winter. Don't ever sugar till the river runs free.
My mother's attorney may not have believed the myth that he shared with my parents, but I sure did. It made sense to me. I had heard much over the past six months. I'd learned well which myths to take to my heart and which ones to discard.
And so when the jury filed into the courtroom, an apostolic procession of twelve, I studied their eyes. I watched to see whether they would look at my mother or whether they would look away. Sitting beside my father in the first row, sitting directly behind my mother and her attorney as I had every day for two weeks, I began to pray to myself, Please don't look at your shoes, please don't look at the judge. Don't look down or up or out the window. Please, please, look at me, look at my mother. Look at us, look here, look here, look here.
I'd watched the jurors for days, I'd seen them watch me. I'd counted beards, I'd noted wrinkles, I'd stared beyond reason and courtesy at the way the fellow who would become the foreman had sat with his arms folded across his chest, hiding the hand disfigured years earlier by a chain saw. He had a thumb but no fingers.
They walked in from the room adjacent to their twelve chairs and found their seats. Some of the women crossed their legs at their knees, one of the men rubbed his eyes and rocked his chair back for a brief second on its rear legs. Some scanned the far wall of the courtroom, some looked toward the exit sign above the front door as if they realized their ordeal was almost over and emancipation was at hand.
One, the elderly woman with white hair and a closet full of absolutely beautiful red flowered dresses, the woman who I was sure was a Lipponcott from Craftsbury, looked toward the table behind which the state's attorney and his deputy were sitting.
And that's when I broke down. I tried not to, but I could feel my eyes fill with tears, I could feel my shoulders beginning to quiver. I blinked, but a fourteen-year-old girl's eyelids are no match for the lament I had welling inside me. My cries were quiet at first, the sound of a mournful whisper, but they gathered fury fast. I have been told that I howled.
And while I am not proud of whatever hysteria I succumbed to that day in the courtroom, I am not ashamed of it either. If anyone should feel shame for whatever occurred that moment in a small courthouse in northeastern Vermont, in my mind it is the jury: Amidst my sobs and wails, people have said that I pleaded aloud, "Look at us! Oh, God, please, please look at us!" and still not one of the jurors would even glance in my mother's or my direction.
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Midwives
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ISBN 10: 0375706771
ISBN 13: 9780375706776
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Zustand: Sehr gut. 374 Seiten. Sehr guter Zustand. Besitzerstempel auf dem Vorsatz: The Munich Readery. In einer rauhen, stürmischen Winternacht nimmt eine Hausgeburt einen katastrophalen Verlauf. Die Telefonleitungen sind tot, die Straßen von einer glatten Eisschicht bedeckt. Ohne jede Möglichkeit, ihre Patientin ins Krankenhaus bringen zu können, arbeitet die Hebamme verzweifelt, um Mutter und Kind zu retten. Ihre unerfahrene Assistentin und der verängstigte Ehemann der Patientin schauen zu. Die Mutter stirbt, das Kind überlebt dank eines Notkaiserschnitts. Aber dann beginnt ein Alptraum: die Assistentin unterstellt der Hebamme, daß die Mutter vielleicht nicht tot war, als sie die Notoperation einleitete: Hat meine Mutter mindestens acht oder neun Zyklen ausgeführt, wie sie sagt, oder nur die vier oder fünf, an die sich Asa erinnert? Das war hier die Frage. Aber irgendwann, nach ein paar Minuten, die meiner Mutter wie ein Wimpernschlag vorkamen, hörte sie mit der Herz-Lungen-Wiederbelebung auf, da kein Puls oder Atmen zu spüren war. Sie schrie Asa und Anne an, ihr das schärfste Messer zu bringen, das im Haus zu finden war. In Midwives schildert Chris Bohjalian die Ereignisse, die zum Prozeß gegen Sibyl Danforth geführt haben, einer anerkannten Hebamme in Reddington -- einer kleinen Stadt im US-Bundesstaat Vermont -- die wegen Totschlags angeklagt wurde. Es wird jedoch schnell offensichtlich, daß Sibyl nicht die Einzige ist, der hier der Prozeß gemacht wird -- die Anklage und der medizinische Berufsstand im Staat sind nur allzu bereit, diese Tragödie als Mittel im Kampf gegen Hebammen im allgemeinen einzusetzen. Diese Hebamme war doch schließlich früher ein Hippie, verkörperte immer noch die Flower-Power-Generation und war 1981 so etwas wie ein Anachronismus. In dem ganzen Unglück versuchen Sibyl, ihr Mann Rand und ihre Tochter Connie, noch ein Teenager, zusammenzuhalten, aber der Druck des Prozesses -- und die wachsende Zuneigung zwischen Sibyl und ihrem Rechtsanwalt -- belastet sowohl ihre Ehe als auch ihre Familie. Bohjalian bringt dem Leser die Verwicklungen von Geburt und Gesetz nahe, und am Ende des Prozesses gegen Sibyl Danforth fällt es schwer, zu entscheiden, was entsetzlicher war -- die tragische Geburt oder ihr rechtliches Nachspiel. Midwives wird aus der Sicht der inzwischen erwachsenen Connie erzählt und fügt durch Zeitsprünge die wichtigen Informationen über die Geschehnisse jener Nacht -- wie die Teile eines Puzzles -- in die komplizierte Handlung ein. Während Connie auf den Prozeß ihrer Mutter zurückblickt, versucht sie immer noch zu verstehen, was passiert ist -- nicht in jener schrecklichen Nacht -- sondern in den Monaten und Jahren danach. --Margaret Prior. Sprache: Englisch Gewicht in Gramm: 350 20 cm. Illustrierte Originalbroschur. Paperback. 10. Auflage. 1st Vintage Contemporaries Ed (Oktober 1998). Artikel-Nr. 39719
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