55 pages • 1 hour read
Laurie Lico AlbaneseA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Content Warning: Hester references sexual assault and slavery, and depicts misogyny, addiction, racism (including period-appropriate language), maternal and infant death (by childbirth), injury (by self-flagellation), and violence (including domestic violence).
Hester opens with narrator Isobel Gamble imagining a young Nathaniel Hawthorne after the death of his father, somehow knowing she, “a story just as powerful” as his father (9), would one day meet him. She then recounts her childhood in Glasgow, Scotland, which is characterized by her experiences with synesthesia. When she is five, her mother teaches her to embroider samplers as a means of teaching her to read. Isobel stitches letters in different colors, according to her synesthetic experience of them, but her mother scolds her, fearing Isobel will be accused of madness or witchcraft. Isobel tries to suppress her sensory experiences to no avail, but still denies their likely hereditary existence. Her mother stitches a hidden scarlet “A” on one of Isobel’s dresses, purportedly for Abington, the town of Isobel’s birth.
Isobel visits her Auntie Aileen, a dressmaker, who praises her sewing. Aileen likens dressmaking to secret-keeping. She comments on Isobel’s work, likening her to her ancestress and namesake, “Isobel Gowdie, Queen of Witches” (15). Aileen tells Isobel to ask her mother for more information about Gowdie, but Isobel’s mother angrily refuses to answer, warning that talk of witches can lead to a woman being killed. Isobel uses sewing to realize her sensory visions without endangering herself.
In the past, Isobel Gowdie stands in front of a crowd of villagers as charges of witchcraft are levied against her. She was charged by the local reverend, who attempted to sexually assault her a year ago, and whose wife she provided an abortifacient for. Gowdie’s hair is cut off, and she is stabbed with a needle to “prove” she is a witch. She protects her abdomen, as she is pregnant. After she is stabbed many times, the tester pretends to stab her, then announces she did not feel the alleged final stab, making her a witch. He announces Gowdie will be tried for witchcraft. She fears she is cursed, as she sees red when the words are spoken (a symptom of synesthesia).
When Isobel is eight, her mother tells her of Isobel Gowdie, who did not hide “her colors” and was accepted by villagers until a year of crop failure, during which she was accused of witchcraft. The villagers burned Gowdie’s house, leading the woman to stand on her roof and announce she is a witch and the Devil’s lover. She then purportedly escaped. Isobel’s mother doesn’t “have the colors” (22), but advises Isobel pray daily and prepare for the day when she will need to be strong like her ancestress. Over the next few weeks, Isobel’s mother grows increasingly ill and dies after warning her daughter to keep the colors secret one final time.
Isobel begins working at an embroidery shop that specializes in white embroidery on white fabric. Her colors fade, which helps her learn to read, though she has to hide the skill at work, as her employer does not approve of girls reading. A large order comes in from America, leading her to dream of one day living there and sewing beautiful things. Isobel’s father discourages this dream, insisting “it is best for a girl not to want anything grand” (28) and urging her to focus on marrying well.
The villagers feel anxious at the announcement that Isobel Gowdie will be tried for witchcraft and encouraged to name members of her “coven.” They are encouraged to report one another.
Isobel meets her future husband, Edward Gamble, an apothecary, after burning her hand. She compliments his salve as magical, despite her long-ingrained fear of witchcraft. Despite their age difference (Isobel is 17, Edward 30), he courts her with gifts. Edward wishes to learn the secret of life and death, which he believes is held by Indigenous or enslaved peoples in America. He proposes marriage, promising Isobel a comfortable life with her own sewing room. She accepts, content to marry for practicality rather than romance.
Despite her pain in their sexual encounters, Isobel is pleased to have a prosperous husband. She settles into domestic life, planning for a family, learning to cook meals that Edward likes, and sewing colorful designs in her new sewing room. When Edward injures his leg, she tends to him while maintaining a distance so as to not imply him weak. Isobel finishes sewing a banner for his apothecary, which leads to a local shoemaker asking her to make one for his shop. She is startled when the colors return as she thinks of the project, which feel like a message from her mother. Edward refuses to let her work, so she does so in secret. Later, Isobel learns he, following his injury, became addicted to laudanum and opium. He has accrued debts and is sentenced to the poorhouse. Isobel hurriedly gathers her most precious possessions, hiding them in her clothes and making them look as insignificant as possible. As the couple is taken to their new room in the poorhouse, she vows to use her sewing to free them.
An examiner questions Isobel Gowdie as she gasps, delirious with thirst. He twists everything she says into confessions of witchcraft. She moans her admission that she had intercourse with the Devil, which Isobel’s mother and aunt remember as a triumphant cry. Several women do not believe Gowdie is a witch, but fear saying anything lest they be accused themselves.
After three days in the poorhouse, Isobel’s father retrieves Isobel and Edward. Between what he salvaged from Edward’s shop and his own contribution, he managed to pay off Edward’s debt. He tells Edward to take Isobel to America. Isobel’s father slips a small bag of coins to Isobel, which she hides from Edward. She weeps as she bids him farewell.
En route to Liverpool, Edward studies the single apothecary book he managed to keep. He signs on as a ship medic to earn him and Isobel free passage to America. Isobel worries he will abuse opium again. The couple boards the New Harmony, whose captain, William Darling, Isobel admires. She suffers seasickness on the first days of the journey, and on the third day, must help Edward drain a large abscess in Darling’s side, aided by Ingo, the first Black man Isobel has ever met. The next morning, Ingo reports Darling has a fever, and that it will be “bad for all of [them]” if Darling dies (49). Unable to locate Edward, Isobel treats Darling using her mother’s remedies. When he recovers, she notes the embroidery on his bedclothes, which Darling reports as his own work, citing the peace he gains from stitching. She sits with him throughout the day while he recounts how he came to be a ship captain. When he falls asleep, Isobel seeks Edward, but Ingo reports Edward too sick “to be seen by a lady” (51). She worries that Edward is abusing opium. She returns to Darling and admits her dream of sewing for a living in America, expressing a desire for silk threads.
The next day, Darling thanks Isobel for saving his life with a packet of beautiful silk threads. Her colors suddenly become overwhelmingly vibrant. When she regains composure, she uses the threads to stitch pictures from her childhood, stopping days later when Edward appears and cries for help. A crew member helps Isobel hide from Edward. She considers helping until she realizes the ring from a barrel could be used as a large embroidery ring, which would make her work easier. She sews day and night, embroidering pictures of her home as well as Scottish history and folklore. Isobel records her and her parents’ names, and then a representation of Isobel Gowdie.
After 33 days at sea, the New Harmony approaches Salem. Darling offers to have Edward onboard again, despite his seasickness and abuse of opium, which Isobel takes as a sign that “America is indeed a land of new opportunity” (57). Despite Darling’s explanation that Salem comes from “salaam”—the Arabic word for “peace”—she finds the raucous docks overwhelming. An older woman, Sally Higgins, grabs her and warns about the Devil, then collapses. Edward kneels to help Widow Higgins. Several local boys call Widow Higgins a witch, but Darling chases them off. Intuition causes Isobel to turn, and she sees a man reading a book while he walks; this is later revealed to be Nat Hathorne. Isobel notes the contrast between this dramatic figure and the “riffraff and scurry of the wharf” (59). A breeze catches her cape, revealing the pictures she’s stitched inside. Nat notices, but she hurriedly hides the pictures.
Isobel spots the embroidery in a Black woman’s clothing—that of Mercy—and thinks it magical, fretting that her long weeks spent feverishly sewing at sea have diminished her ability to differentiate reality from her colors. Her group encounters the dramatic man from earlier, and Darling greets him as Mr. Hathorne, saying he brought new books from London on this voyage.
At Charter Ale House, an American seaman implies prejudice against Scottish people. Edward introduces himself as a doctor, falsely claiming he is trained in surgery. He then reveals his intention to travel with Darling to Bermuda, leaving Isobel behind in Salem. She is conflicted about this plan, as she is disappointed in him but does not wish to be alone. She retreats to their rented bedroom, finding comfort in embroidery. Isobel falls asleep thinking of the possibility of the New World and Mr. Hathorne.
In a new settlement in Salem, Major William Hathorne instructs his son John on the importance of protecting their community from Satan’s work; he gives John a copy of a book used in England and Scotland to “discover” witches. He studies the text carefully.
In the morning, Isobel discovers Edward passed out from alcohol on the floor. She hears a man apologize to “Nat”—Mr. Hathorne—that his story will not be published that week. She explores Salem, passively watching for Nat and dreaming about dresses she plans to design. Isobel encounters Widow Higgins, who apologizes for frightening her. She assures the older woman that she was unafraid. Widow Higgins asks about Isobel’s embroidery, if she will work for hire, and which church she will attend. She advises Isobel to be witnessed attending church weekly and offers to show her a cottage she owns, as Darling advised Isobel live there while he and Edward are at sea. Something about Widow Higgins makes Isobel uneasy, even as the older woman recommends where she can find embroidery work.
When Isobel returns to the inn, Edward announces she will be renting the widow’s cottage, brushing aside her protest that she would have liked to see the house beforehand. A Black wharf runner named Zeke guides the couple to the cottage. He praises the stitch work of his cousin, Mercy, whose work Isobel saw at the docks, though he denies Isobel’s claim that Mercy’s work is magic. Zeke points out local landmarks, including “Witch Woods,” which he cites as a thing of the past. Isobel likes the cottage, which reminds her of her childhood home. Mercy arrives with her children, Ivy and Abraham. Isobel wants to befriend the woman and ask about her sewing, but Mercy avoids meeting her gaze. The children happily show Isobel eggs and goat’s milk, which they brought in exchange for using the cottage’s well. She tries to offer the water for free as a gesture of friendship, but Mercy refuses. Mercy prepares to leave until she sees Isobel’s mother’s gloves with their fine embroidery. She tells Isobel about a potential embroidery job and then quickly leaves.
The next day, Zeke helps Edward and Isobel set up the house, advising Isobel on what to plant in her garden: He suggests she “plant a rainbow” (77), which inspires a stitching project.
Isobel Gowdie waits in prison the night before her scheduled hanging. She hears her husband outside, distracting the guards, and Reverend Forbes’s wife, Margret, frees her and encourages her to run. Gowdie does, not looking back.
The first chapters of Hester introduce Isobel’s experiences with synesthesia, though, as Laurie Lico Albanese notes in her Notes and Acknowledgments, synesthesia was not recognized as a neurological phenomenon in the early 19th century—thus making Isobel’s perceptions a mystery to others. She thinks, “I didn’t know my colors were unusual and so I never thought to speak of them, just as I never remarked on the air, or the feel of a blanket at night, or the bark of my father’s laugh I loved so well” (10). This normalized view of her own neurodiversity contrasts with the rationale behind accusations of witchcraft, which were pretenses deployed to legalize violence against those already lacking societal power—often women. Isobel’s “colors” are simply a part of herself, a hereditary trait that she later learns is trustworthy, regardless of its origin in science or magic. This inheritance of ancestress Isobel Gowdie’s synesthesia and her later embroidery of her family history introduce the theme of The Gendered Burden of Family History. Overall, the novel plays with the idea of magic, in that Isobel and other characters frame the unusual or wondrous as magical. While she sees beauty in “magic,” including her own neurodiversity at times, some characters link such magic to evil, particularly when exhibited by a woman.
Due to this mentality, Isobel’s mother advises hiding her synesthesia, and her father pushes her to marry well—both acts stemming from fear for her safety. Being a young woman raised to be cautious, Isobel decides to marry for practicality, accepting apothecary Edward’s proposal despite their 13-year age gap. Edward harbors the racist belief that cultures he sees as more “primitive” than Europe and America possess magical knowledge: “Slaves and savages in America have knowledge that leads to the doorway between life and death […] Whatever it is, jungle seeds or African potions, a drink or a salve, I’ll find it and […] make our fortune” (33). This characterization is reminiscent of the “Magical Negro” trope, a device in literature and film that describes the frequent racist portrayal of Black characters as possessing magical knowledge that only serves to aid white characters. Edward’s desire to exploit Black people reinforces the novel’s division of morality according to who does or does not further abolitionist efforts.
When Edward and Isobel sail to America, the country is symbolic of new ways of living and rejection of old evils. While Isobel thinks “America is indeed a land of new opportunity […] Edward left home a ruined apothecary and arrived in America a doctor. If I work hard and am clever, then perhaps I will make something new of myself as well” (57), her life in Salem is not without difficulties. Early on, she is told “New Irish aren’t liked in Salem […] New Scots are a rough lot, too” (69). While America offers possibility, it shares Scotland’s prejudices against women and Black people.
Isobel Gowdie’s story introduces the theme of Fictionalizing History, Historicizing Fiction by illustrating differences between reality and legend through the consequences of prejudice. While Gowdie’s supposed words—“I have lain with the Devil’s forked prick inside me, and if you kill me hell will reign on earth” (15)—echo throughout the novel, the interludes portray this admission as begotten of torture, while Gowdie’s descendants remember it as a triumphant rejection of the misogyny and patriarchy that led to witch trials.
The theme of “Scribbling Women” and Feminist Reimagination is introduced through the fictionalized version of Nat Hathorne—who later becomes Nathaniel Hawthorne, the author of The Scarlet Letter. Both Nat and Isobel’s families have histories with witch trials, but the novel centers Isobel, framing the fictional woman as a realistic representation of women of the time. Both the real Isobel Gowdie and the fictional Isobel Gamble face obstacles inherent to being women, a mix of reality and fiction, serving to remember and empower. Through Isobel Gamble, Albanese argues for reimagining the past through the women who may have been forgotten by patriarchal history.