Enemy Women: A Novel

For the Colleys of southeastern Missouri, the War between the States is a plague that threatens devastation, despite the family’s avowed neutrality. For eighteen-year-old Adair Colley, it is a nightmare that tears apart her family and forces her and her sisters to flee. The treachery of a fellow traveler, however, brings about her arrest, and she is caged with the criminal and deranged in a filthy women’s prison.

But young Adair finds that love can live even in a place of horror and despair. Her interrogator, a Union major, falls in love with her and vows to return for her when the fighting is over. Before he leaves for battle, he bestows upon her a precious gift: freedom.

Now an escaped "enemy woman," Adair must make her harrowing way south buoyed by a promise . . . seeking a home and a family that may be nothing more than a memory.

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Enemy Women: A Novel

For the Colleys of southeastern Missouri, the War between the States is a plague that threatens devastation, despite the family’s avowed neutrality. For eighteen-year-old Adair Colley, it is a nightmare that tears apart her family and forces her and her sisters to flee. The treachery of a fellow traveler, however, brings about her arrest, and she is caged with the criminal and deranged in a filthy women’s prison.

But young Adair finds that love can live even in a place of horror and despair. Her interrogator, a Union major, falls in love with her and vows to return for her when the fighting is over. Before he leaves for battle, he bestows upon her a precious gift: freedom.

Now an escaped "enemy woman," Adair must make her harrowing way south buoyed by a promise . . . seeking a home and a family that may be nothing more than a memory.

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Enemy Women: A Novel

Enemy Women: A Novel

by Paulette Jiles
Enemy Women: A Novel

Enemy Women: A Novel

by Paulette Jiles

Paperback(Reissue)

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Overview

For the Colleys of southeastern Missouri, the War between the States is a plague that threatens devastation, despite the family’s avowed neutrality. For eighteen-year-old Adair Colley, it is a nightmare that tears apart her family and forces her and her sisters to flee. The treachery of a fellow traveler, however, brings about her arrest, and she is caged with the criminal and deranged in a filthy women’s prison.

But young Adair finds that love can live even in a place of horror and despair. Her interrogator, a Union major, falls in love with her and vows to return for her when the fighting is over. Before he leaves for battle, he bestows upon her a precious gift: freedom.

Now an escaped "enemy woman," Adair must make her harrowing way south buoyed by a promise . . . seeking a home and a family that may be nothing more than a memory.


Product Details

ISBN-13: 9780061337635
Publisher: HarperCollins
Publication date: 04/10/2007
Series: P.S. Series
Edition description: Reissue
Pages: 352
Sales rank: 69,979
Product dimensions: 5.31(w) x 8.00(h) x 0.79(d)
Lexile: 890L (what's this?)

About the Author

About The Author

Paulette Jiles is a poet and the author of Cousins, a memoir, and the bestselling novels Enemy Women, Stormy Weather, and The Color of Lightning. She lives on a ranch near San Antonio, Texas.

Hometown:

Southwest Texas

Place of Birth:

Salem, Missouri

Education:

B.A. in Romance Languages, University of Missouri

Read an Excerpt

Oct. 29, 1864
Dear Wife and Children; I take my pen with trembling hand to inform you that I have to be shot between 2 & 4 o'clock this evening. I have but few hours to remain in this unfriendly world. There are 6 of us sentenced to die in retaliation of 6 Union soldiers that was shot by Reeves men. My dear wife don't grieve after me. I want you to meet me in Heaven. I want you to teach the children piety, so that they may meet me at the right hand of God. . . . I don't want you to let this bear on your mind any more than you can help, for you are now left to take care of my dear children. Tell them to remember their dear father. I want you to tell all my friends that I have gone home to rest. I want you to go to Mr. Conner and tell him to assist you in winding up your business. If he is not there then get Mr. Cleveland. If you don't get this letter before the St. Francis River gets up you had better stay there until you can make a crop, and you can go in the dry season. It is now half past 4 a.m. I must bring my letter to a close, leaving you in the hands of God. I send you my best love and respect in this hour of death. Kiss all the children for me. You need have no uneasiness about my future state, for my faith is well founded and I fear no evil. God is my refuge and my hiding place.

Good-bye Amy

Asey Ladd

--Asa Ladd, a Confederate prisoner of war in Gratiot Street Prison, St. Louis, who was selected along with five others by the Union command of that city to be executed in retaliation for Reeves's execution of Major James Wilson of the Union Militia. Ladd was from southeastern Missouri. It was the third year of the war and by now there was hardly anybody left in the country except the women and the children. The men were gone with Colonel Reeves to live in the forests, and many families had fled to Texas or St. Louis. Abandoned house places looked out with blank windows from every hollow and valley in the Ozark mountains so that at night the wind sang through the disintegrating chinking as if through a bone flute. Adair Colley had just turned eighteen in early November of 1864 when the Union Militia arrested her father and tried to set the house on fire. Her sister Savannah saw them first; a long line of riders in blue trotting in double column as they turned into the road that led to the Colley farm.

All through the last three years of the war Adair's father had tried to keep his children close to home. Because he was a justice of the peace, he was called Squire, and the newspapers he subscribed to came addressed to Squire M. L. Colley. Her father had determined to stay out of the war and keep his children out of the reach of soldiers of either army and he had succeeded in this for three years. He read in the Little Rock paper that the Missouri Union Militia was being thrown together out of troops dredged up from the riverfronts of St. Louis and Alton, from the muddy Missouri River towns. Men who joined up for a keg of whiskey and five dollars a month.

The trained and disciplined Union troops had long ago been sent to the battlefields of the East, to Virginia and Tennessee, while the hastily recruited Militia had been sent down into the Ozarks to chastise the families whose men had gone to the Southern Army, to catch and arrest them when they returned from their six-month enlistments, and to punish those who might be suspected of harboring Southern sympathies.

Adair's father did not know what the law was on this matter, concerning men who had been in the Southern Army and had returned home and were soldiers no longer, or those who had never joined up at all but had no means of proving it. But it was no matter, for the Union Militia knew no law. After they burnt down the courthouses they then began to ambush the mail carriers, so the southeastern Ozarks seemed a place cut off from the entire world.

Adair's father read to them in the evenings out of the rare newspaper he managed to acquire, the Memphis Appeal and the St. Louis Democrat. Adair sat on the clothes trunk to stare at the fire and listen to the inflamed prose of the Democrat. She would rather he read the racing news from the Nashville paper, for she wanted to hear if Copperbottom's sons were running but the war consumed everything, even human thoughts and horse races.

There are four main rivers coming down out of the southeastern Missouri Ozarks into the Mississippi. They are the Eleven-Point, the Current, the Black, and the Saint Francis. For three years Adair had seen at a distance soldiers of both armies riding up these river valleys in search of one another. Her brother, John Lee, rode to the ridges to stand watch for them every morning, for the Fifteenth Missouri Cavalry under Colonel Reeves would take your horses as quick as would any Militia. He watched for their smoke, at dawn when the soldiers would be lighting their breakfast fires. He did not go to war himself for he had a withered arm. So the Union Militia raided and set fire to the outlying places all around the Colley farm but continued somehow to miss them.

All through this time Adair's father remained absorbed in his books of law, his newspapers passed from hand to hand down the Wire Road or the Nachitoches Trace by neighbors or one of the few travelers. The light fell from the twelve-paned windowlights onto the harvest table as he wrote, arguing to editors the causes and the Constitutional points of the war in letters that became harder and harder to mail.

As the war dragged on, Adair began to hear from her cousins and from what neighbors remained to them that women were being taken by the Union Militia and sent to prison for disloyalty, that the women were accused of supplying clothing and food to their brothers, their fathers, husbands, sons, or cousins who rode with Timothy Reeves. That the Union had arrested and sent away the Blakely sisters and the Sutton girls and old Mrs. Holland from Jack's Fork. Nobody seemed to know where it was that the women were being held in that far city, but after a while word came back that it was in places called Gratiot and the St. Charles Street Prison for Women.

In stained coats of Federal blue the Militia came upon the towns of Doniphan Courthouse and Alton, the Crites homestead and all the house places down Pike Creek and the Current River, carrying away jewelry and horses, quilts and silver, to be sold on the black market in St. Louis. They burned houses and shot whoever got in their way. They beat Adair's father in the face with such force Adair thought they had put his eye out. They used a wagon spoke and afterward they threw it away stained with his blood and hair.

The Militia got the horses and then broke their way inside the house. One soldier started shoveling the coals from the fireplace out over the floors and onto the big harvest table, while another tipped over the china cabinet and started dancing up and down in the dish fragments, singing, Oh sinner, come view the ground, where you shall shortly lie. . . .

There was a thin November snow coming down at that time from behind the Courtois Hills, light skeins of snow unwinding themselves over the valley of Beaverdam Creek. Then it turned to a hard rain. It was this that saved the house. The cold rain came down driving like hail, and steam blossomed hot out of the fireplace where water was streaming down the chimney. A strong wind came up out of the southwest and blew off Adair's bonnet and tore at her bonnet strings until she thought they would cut her throat.

While the girls fought the fire the Militia carried out everything from the house in the way of food or valuables that they found. They came out of the house with their coat collars turned up against the rain, their arms loaded, and between the door and their wagon was a trail of spoons and bobbins and trodden paper. Then they went on, taking her father away in their commissary wagon with his arms tied behind him and without a hat. The rain beat into his face, and the blood ran draining down in thin streams. Then the tilting wagon and the soldiers went off into a world of hammering water and the iron tires were surrounded by a thin halo of spraying mud. By evening the Little Black River had risen to flood stage.

So it was in the third year of the Civil War in the Ozark mountains of southeastern Missouri, when Virginia creeper and poison ivy wrapped scarlet, smoky scarves around the throats of trees, and there was hardly anybody left in the country but the women and the children.

What People are Saying About This

Anna Quindlen

“I loved…it provides the greatest suspense a story can offer: will someone we’ve come to love persevere and prosper?”

Kaye Gibbons

“Enemy Women is all strength and poetry, as are history’s grandest ordinary women and extraordinary writing.”

Carolyn Chute

“ENEMY WOMEN...has a Homeresque feel to it. Like something written by an old soul.”

Gordon Lish

“You know what it means when there is Paulette Jiles inside? Be smart. Open the book.”

Reading Group Guide

Plot Summary

The Civil War Era was one of the most divisive and heart-rending in our nation's history. For 18-year-old Adair Colley it brought about intense personal change as well. Although the Colley family was neutral on the issues of secession and slavery, many men from their area in Missouri Ozarks had joined the Confederate army. One day in November 1864 the Union Militia swept in on their mission to rout Confederate sympathizers. They set the Colley homestead on fire, and arrested Adair's father, a mild-mannered justice of the peace. Adair and her two younger sisters gathered together what they could and set off to find shelter. Along the way, however, Adair herself is arrested on charges of "enemy collaboration" and sent to a women's prison in St. Louis. There she meets a Union major, William Neumann, who is to be her interrogator, and the two fall in love. Before he is sent back to the front, Neumann helps Adair plan an escape and, not long after he leaves, she makes her break. Weakened and alone, Adair must now travel through dangerous territory as she makes her way home -- not knowing who or what she will find there.

Questions for Discussion

  • The first chapter of the book paints the Civil War in the Ozarks with a very broad brush. It is a short chapter, and yet the emotional tone of the chapter shifts between the beginning and the end. How does the tone change, and what techniques does the author use to change it? What is the tone in the beginning of the chapter; what is it at the end of the chapter?

  • The scope of the novel is larger than Adair's personal relationships with her family and the Major. There are battle scenes and longjourneys, depictions of the city of St. Louis and its wartime waterfront. What technical choices does the author make to distinguish the "larger picture" scenes from the narratives that deal exclusively with personal relationships?

  • Although Enemy Women is a novel, many of the historical events it describes are real, and the author includes snippets from letters, journals, newspapers, and military dispatches at the beginning of each chapter. Do you like this technique of mixing the actual with the imagined? How does it affect your reading and/or enjoyment of the narrative? Is there a thread or ongoing story unfolding through the historical quotes themselves?

  • Do you think the author has succeeded at portraying 19th century personalities and attitudes through her characters? Or do you feel she has simply transposed late 20th century attitudes and behavior onto the Civil War era? What's the difference?

  • The author goes against convention by not using quotation marks throughout the book. How did this unusual technique make you feel? Were you immediately comfortable, or did it take you a while to get used to it? How did it affect your experience of the dialogue?

  • Adair, and other characters in the book, reveal their inner lives through their actions rather than through devices such as interior monologue or omniscient description or flashbacks to childhood. How is this different from methods usually employed in other novels? Does the author use dialogue to reveal character?

  • There are no flashbacks in the novel. Where and how does Adair impart some information about the Colley family's life before the war? The author then doubles back and casts doubt on the authenticity of the information. How and why does the author do this?

  • At one point, the Major says to Adair, "Had you met me at a social gathering, you would probably not even have spoken to me, because I am a Yankee officer." Had Adair and the Major met under other circumstances, would she have ignored him?

  • Enemy Women has a rich array of minor characters. Among them are Christopher Columbus Jones (the ostler at the Major's boardinghouse), Lt. Brawley, Mr. and Mrs. Greathouse (the couple who argue over the hat), Greasy John, the "botanical steam doctor" in the town of Valles Mines, Jessie Hyssop, Colonel Timothy Reeves (who only appears at the very end of the book, although we hear about him from the beginning). Who are your favorite minor characters, and why?

  • Rivers play an important role in Enemy Women, both as symbols and as actual barriers. In the 19th century, rivers were far more than symbols; they were dangerous crossing points that had to be negotiated at some risk. What significance is there in the name of each river? Does a change occur to the hero or heroine as he or she meets new tests or enemies on the far side?

  • Adair changes over the course of the book, from an audacious, outspoken, fearless young woman to someone more inner-directed, cautious, quiet, even frightened. Where are the crucial scenes that demonstrate this transformation?

  • When Adair finally returns home, she finds a family of traveling players has occupied her empty house. What purpose does this serve in the narrative? Is the author being lightly satiric through the player's explanation of the roles of the "aristocratic girl" and the "saucy girl"?

  • At the end of the book, when the Major stands before the empty Colley homestead and calls out to Adair, saying he has kept his promise, what famous early 20th century poem do these lines evoke?

  • In the beginning of the book, Adair seems dubious about marriage, and reluctant to give up her freedom. By the end of the book, though, she has apparently changed her mind. How do we know that Adair has fallen in love with the Major, despite her doubts and confusions?

  • At the end of the story, Adair is weak, in many ways as faded and ragged as the Confederacy itself. What small, sneaky symbol at the very end gives the reader hope that Adair may recover and flesh out to become her old self again? (Hint, hint: It's up in the sky.) About the Author: Paulette Jiles is an award-winning poet and memoirist. The idea for Enemy Women, her first novel, sprung from research she was conducting into her own family's past during the Civil War in the Ozarks. An avid horsewoman (who learned how to ride sidesaddle as part of the research for this novel), Jiles lives in San Antonio, Texas, with her husband, and is currently at work on a new novel.

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