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  • Emma of Aurora
  • Written by Jane Kirkpatrick
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  • Written by Jane Kirkpatrick
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The Complete Change and Cherish Trilogy: A Clearing in the Wild, A Tendering in the Storm, A Mending at the Edge

Written by Jane KirkpatrickAuthor Alerts:  Random House will alert you to new works by Jane Kirkpatrick

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List Price: $15.99

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On Sale: November 05, 2013
Pages: 1200 | ISBN: 978-0-307-73216-3
Published by : WaterBrook Press Religion/Business/Forum
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Synopsis|Excerpt

Synopsis

The Change and Cherish trilogy, based on the true story of Emma Wagner Giesy, now available in one volume:
 
A Clearing in the Wild
When Emma’s outspoken ways and growing skepticism lead to a clash with the 1850s Bethel, Missouri colony’s beloved leader, she finds new opportunities to pursue her dreams of independence. But as she clears a pathway West to her truest and deepest self, she discovers something she never expected: a yearning for the warm embrace of community.
 
A Tendering in the Storm
Determined to raise her children on her own terms, Emma suddenly finds herself alone and pregnant with her third child, struggling to keep her family secure in the remote coastal forest of the Washington Territory. As clouds of despair close in, she must decide whether to continue in her own waning strength or to humble herself and accept help from the very people she once so eagerly left behind.
 
A Mending at the Edge
As a mother, daughter, sister, and estranged wife, Emma struggles to find her place inside—and outside—the confines of her religious community. Emma reaches out to others on the fringe, searching for healing and purpose. By blending her unique talents with service to others, she creates renewed hope as she weaves together the threads of family, friends, and faith.

Excerpt

The Thread of Love

Some say that love’s enough to stave off suffering and loss, but I would disagree. Quietly, of course. Words of dissent aren’t welcome in our colony, especially words from women. I should have learned these lessons—about dissent and love—early on before I turned eighteen. But teachings about spirit and kinship require repetition before becoming threads strong enough to weave into life’s fabric, strong enough to overcome the weaker strains of human nature. It was a strength I found I’d need one day to face what love could not stave off.

But on that Christmas morning in Bethel, Missouri, 1851, celebrating as we had for a decade or more with the festivities beginning at 4:00 a.m., a time set by our leader, love seemed enough; love was the thread that held the pearls of present joy. It was young love, a first love, and it warmed. Never mind that the warmth came from the fireplace heat lifting against my crinoline, so for a moment I could pretend I wore the wire hoop of fashion. Instead of something stylish, I wore a dress so simple it could have been a flannel sheet, so common it might belong to any of the other dozen girls my age whose voices I could hear rising in the distance, the women’s choir already echoing their joy within our Bethel church. Winter snows and the drafts that plagued my parents’ loft often chilled me and my sisters. But here, on this occasion, love and light and music and my family bound me into warmth.

Candle heat shimmered against the tiny bells of the Schellenbaum, the symbol of allegiance my father carried in the church on such special occasions. The musical instrument’s origin was Turkish, my father told me, and militaristic, too, a strange thing I always thought for us German immigrants to carry forth at times of celebration. The musical instrument reminded me of an iron weather vane on top of one of the colony’s grain barns, rising with an eagle at the peak, its talons grasping an iron ball. Beneath, a crescent held fourteen bells, alternating large and small, dangling over yet another black orb with a single row of bells circling beneath it. A final ring of tiny bells hovered above the stand my father carried this early morning. As a longtime colonist, he walked worshipfully toward the Tannenbaum sparkling with star candles placed there by the parade of the youngest colony girls.

My father’s usual smiling face wore solemn as his heavy boots took him forward like a funeral dirge, easing along the wide aisle that divided men from women, fathers from daughters, and mothers from sons even while we faced one another, men looking at women and we gazing back. All one thousand members of the Bethel Colony attended. The women’s chorus ended, and I heard the rustle of their skirts like the quiet turning of pages of a book as they nestled down onto the benches with the other seated women.

Later, the band would play festive tunes, and we’d sing and dance and give the younger children gifts of nuts and apples, and the men might taste the distillery’s nectar of whiskey or wine, though nothing to excess, before heading home to open gifts with family.

We began the Christmas celebration assembled in the church built of bricks we colonists made ourselves.We gathered in the dark, the tree candles and the fire glow and our own virgin lanterns lighting up the walnut-paneled room as we prepared to  hear Father Keil—as my father called him—preach of love, of shared blessings, of living both the Golden and the Diamond Rules. He’d speak of loyalty to our Lord, to one another, and ultimately to him, symbolized on this day by the carrying of the Schellenbaum and the music of its bells across the red-tiled floor.

As my father passed in front of me, I spied my older brother, Jonathan, my brother who resembles me. He, too, is small and slender with eyes like walnuts framed by thick brown eyebrows set inside a heart-shaped face. I used to tease my brother about his chipmunk cheeks until the day I overheard Helena Giesy say, “Emma Wagner and her brother look like twins, though Jonathan is two years older. Such puffed up cheeks they share,” she said. Our rosy cheeks bind us.

Jonathan held his lower lip with his teeth, then raised his eyebrows, letting his eyes move with deliberateness toward the front and the tall, dark-haired man standing next to Father Keil. Now my heart skipped. Jonathan lifted his chin, grinned. My face grew warm.

I never should have told him.

At least I kept the secret from the little ones, though Catherine at nine, wise beyond her years, would claim she was adult enough to know, but she’d have clucked her tongue at me for even thinking in the way I did. David, Johanna, Louisa, and William, well, they’d have blabbed and babbled without knowing what they really said.

The bells tinkled and the band struck up notes. Later, if the weather held, the band would move out onto the platform around the church steeple and play Hark! the Herald Angels Sing so loudly that perhaps the ears of those in Shelbina thirteen miles south would be awakened and our colony would intrude on them, but in a glorious way. We were meant to be set apart by our commitment to the common fund, Father Keil told us, and yet to serve. Lately, Shelbina and its railroad threatened us. My father said Father Keil grew worried that Shelbina’s life might lure young men away. Father Keil would do his best to keep Bethel’s sons loyal, separated, even though he said our passion should be to bring others to our fold, save others from God’s planned destruction of our world, give to those in need, especially to widows and their children, We were to bring to the colony, through our acts of love, the women who wore white globes called pearls around their necks, the fine ladies who sought after jewels and gems that marked false loyalties to luxury over faith.

Neighbors. The people of Shelbina were good neighbors, I always thought. They bought our gloves, our wine, and our corn whiskey. But few of us really knew them.We had no way of knowing if they’d heard about the coming destruction or if they suffered from worries and woes. Our religious colony cherished lives of simplicity, sharing frugal wealth in common, all needs of colonists met, silencing desire for unnecessary passions. Whatever cash we earned went to the common purse. If we needed cash for some outside purchase, we went to that same coffer. Whatever we needed from the colony’s yield, we simply walked to the storehouse to secure it.My mother said it eased all worry about the future; I saw it as one more person to have to convince to let loose the purse strings.

We colonists were different from those around us in Missouri; we were an island of our own. We worked to stay unsullied by the larger distractions of the world that Shelbina symbolized even while we attempted to bring others into the joys of our colony’s ways.

Only the strongest of us could reach outside and yet stay faithful, Father Keil said. I smoothed my skirt and felt the ruffle.

The brass horns pierced the room, announcing Father Keil’s beginning words. Angels’ trumpets. Music is the perfect way to celebrate a glorious occasion, I’ve always thought. Jonathan played in the men’s band. Not me. Not girls, not young women. Our music came from our voices raised in the choir or while beating rugs or dyeing wool or serving meals to men. I couldn’t carry a tune in a candlestick holder, something else that made me different.

But separation from the women’s choir or the brass instruments of music did not keep me from the joy of this day especially.

My father set the Schellenbaum on its stand, then took his place across from us, sliding next to my brothers, who then wiggled on down the bench, a place they always sat.We’d been a part of this colony for as long as I could remember. My father had been one of three scouts sent out from Pennsylvania by our leader to find a “place of separation” in the unknown territories, far from the larger world. I was five years old when we moved with other German families discouraged by the changes in George Rapp’s colony at Harmony, Pennsylvania. We seceded first to Phillipsburg, then into Indiana, then into Shelby County, Missouri, where our leader imagined Bethel into being. It is a joyous place, Bethel, even though my father says many will be summoned in the morning to discuss reasons we might have to leave again.

Change never troubled me. I welcome change, newness, though I work to keep my pride in check about it. Pride is an evil thing, our leader tells us.We must not envy, must not lust, must not covet. So no one knows I’ve stitched a ruffle to my crinoline. It is a harmless vanity easily removed but one that warms my spirit knowing it is there, unique on this winter morning as crisp as a hot-ironed crease. I gaze without envy along the row of plain and simple wool dresses of Bethel’s sisters on the benches.

Change has its richness in a colony where everything seems the same. At seventeen, I am of marriageable age, so change sticking its head inside my door will be patted like a welcomed dog on its happy head.

Before we left our brick home this morning, my mother cautioned me when I noted that thismight bemy last Christmas as Emma Wagner. Next year, next Christmas, I might carry a new name and enter the festivities not as a child, but as a woman.
Jane Kirkpatrick

About Jane Kirkpatrick

Jane Kirkpatrick - Emma of Aurora
Jane Kirkpatrick is a best-selling, award-winning author whose previous historical novels include All Together in One Place and Christy Award finalist A Tendering in the Storm. An international keynote speaker, she has earned regional and national recognition for her stories based on the lives of actual people, including the prestigious Wrangler Award from the Western Heritage Hall of Fame. Jane is a Wisconsin native who since 1974 has lived in Eastern Oregon, where she and her husband, Jerry, ranch 160 rugged acres.
Praise

Praise

Praise for A Clearing in theWild

“A Clearing in theWild is Jane Kirkpatrick at her finest.The story is quickly paced and engaging from the first to the last. One of the most difficult tasks for a writer—and Kirkpatrick’s specialty—is to contemplate the lives of real people and to re-create a believable episode in those lives that is accurate yet interesting, to both inform and entertain. The dialog sings masterfully with perfect tone, building characters and pushing the story line in succinct phrasing that never overstates. Emma Wagner Giesy’s story feels as genuine as if she herself were telling it.”
—NANCY E. TURNER, author of Sarah’s Quilt and TheWater and the Blood

“Jane Kirkpatrick has done it again! A Clearing in the Wild introduces us to a feisty young heroine who, by her determination, ingenuity, and faith, helps to create a home and a life in the wilderness. Readers are sure to fall in love with Emma as she weaves the story of her life, creating a pioneer tapestry and leaving us anticipating the next layer of her inspirational story.”
—RANDALL PLATT, author of Honor Bright and The Likes of Me

“Through her careful research, Jane Kirkpatrick has captured the trials of those who are determined to settle a land that does not easily yield to civilization. She has brought to life another woman in our history whose faith, strength, and commitment is a testament to not only the pioneer spirit but the human spirit as well. Thank you, Ms. Kirkpatrick, for not allowing Emma Wagner Giesy to languish in obscurity.”
—KARLA K. NELSON, owner of Time Enough Books in Ilwaco, Washington

“Emma Wagner Giesy is brave, willful, and beautiful, and A Clearing in the Wild brings her to life without for a moment sacrificing her complexity. Kirkpatrick compels us to think again, and deeply, about the needs of the body, soul, and mind; and in these pages she proves once again that she is a gifted chronicler of the lives of women in theWest.”
—MOLLY GLOSS, author of The Jump-Off Creek and Wild Life

Praise for A Tendering in the Storm

“Jane Kirkpatrick again proves herself to be one of the finest writers working in historical fiction today. With A Tendering in the Storm, Kirkpatrick applies her usual meticulous research and rich period detail to give readers a wonderful story with strong, unforgettable characters. Beautifully and thoughtfully written as always, this novel will capture your attention, your imagination, and your heart.”
—B. J. HOFF, author of the Mountain Song Legacy and An Emerald Ballad

“Once again Jane Kirkpatrick’s attention to historic detail brings the hardscrabble existence of theWillapa Bay pioneers to life. In A Tendering in the Storm, Emma Wagner Giesy struggles with choices she makes in response to great tragedy. With rigid honesty, Kirkpatrick shows the consequences of these choices and how Emma regains her strength through love, trust, and sacrifice.”
—KARLA K. NELSON, owner of Time Enough Books in Ilwaco, Washington

“The title A Tendering in the Storm keenly expresses the continuing story of the intrepid Emma Wagner Giesy as she struggles between the comfort and security of her religious community and self-reliance in the midst of tumult. Jane Kirkpatrick’s impressive research on this true character reveals many realities of one woman’s efforts to carve out a life for herself and her children on the burgeoning frontier of Washington Territory. In her engaging style rich with metaphor and imagery, the author explores issues still relevant in today’s world: women’s rights, child custody, property rights, domestic violence, and religious freedom. Bravo!”
—SUSAN G. BUTRUILLE, author of Women’s Voices from the Oregon Trail and Women’s Voices from theWestern Frontier

Praise for A Mending at the Edge

“I love when a book illuminates a small slice of history that has relevance to our lives today—even better when it does so with interesting characters and a compelling story. Emma Giesy is a woman with flaws and attributes we all can relate to and whose journey is one that easily could have taken place today.”
—JUDITH PELLA, best-selling author of the Daughters of Fortune series

“Jane has a gift for breathing simple beauty into the lives of remarkable historical women characters. In A Mending at the Edge, Emma comes off the page and shows readers an unforgettable picture of a very unique Oregon community.”
—ROBIN JONES GUNN, author of the best-selling Glenbrooke series and the Christy Award–winning Sisterchicks novels

“Jane Kirkpatrick’s knack for stitching history and fiction together is as skillful as the quilts she writes about in the Change and Cherish Historical Series. A Mending at the Edge is a satisfying ending to an absorbing series that manages to stay true to the past while relating remarkably well to today’s modern women.”
—TINA ANN FORKNER, author of Ruby Among Us

“In A Mending at the Edge, Jane Kirkpatrick completes the literary quilt of the Emma Wagner Giesy trilogy, piecing together the historical fabric of Emma’s personal story with that of the Aurora Colony. Emma’s efforts to find a house—and a home—in this communal society in Oregon once again reflect the conflict of individual and community needs represented in Kirkpatrick’s earlier two works in the Change and Cherish Historical Series. Based on a solid historical framework of the Aurora Colony and the broader social, political, and cultural landscape of the 1860s, Kirkpatrick offers a story of hope and achievement that captures the spirit of giving, sharing, and receiving central to ‘mending’ within a communal settlement.”
—JAMES J. KOPP, communal historian and board member of the Aurora Colony Historical Society

“Jane Kirkpatrick artfully weaves this story for us, rather like Emma and the women of Oregon’s Aurora Colony weave together their quilted existence as well as their personal quilting projects. Her masterful placement of the fresh-turned phrase and the graceful metaphor enriches this captivating and yet disquieting story of mid-nineteenth-century pioneer women whose lives are so very different from ours—or are they?”
—SARAH BYRN RICKMAN, author of Nancy Love and theWASP Ferry Pilots of WorldWar II, The Originals, and Flight from Fear

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