Susanna Character Analysis

Every life has its kernel, its hub, its epicentre, from which everything flows out, to which everything returns. This moment is the absent mother’s: the boy, the empty house, the deserted yard, the unheard cry. Him standing there, at the back of the house, calling for the people who had fed him, swaddled him, rocked him to sleep, held his hand as he took his first steps, taught him to use a spoon, to blow on broth before he ate it, to take care crossing the street, to let sleeping dogs lie, to swill out a cup before drinking, to stay away from deep water.

It will lie at her very core, for the rest of her life.

“Something about rain. And branches. But I couldn’t properly make it out.”

Bartholomew regards him for a second or two, turning these words over and over in his mind. Rain and branches. Branches. Rain. Then he lifts his crook and tucks it into his belt.

“Get up,” he says.

The husband is still speaking, more to himself than anyone else. “She was here this morning and then she wasn’t,” he is saying. “The Fates have intervened and swept her away from me, as if on a tide, and I have no idea how to find her, no idea where to look and—”

“I do.”

“—I shall not rest until I find her, until we are—” The husband stops short and raises his head. “You do?”

“Yes.”

“How?” he demands. “How can you know her mind so quickly and yet I, who am married to her, cannot begin—”

Suddenly she knows two things. She doesn’t know how she knows them: she just does. Agnes never questions these moments of insight, the way information arrives in her head. She accepts them as a person might an unexpected gift […]

She is with child, she feels. There will be another baby in the house by the end of winter. Anges has always known how many children she will have. She has foreknowledge of this: she knows there will be two children of hers standing at the bed when she dies. And here is the second child now, its first sign, its very beginning.

She also knows this smell, this rotten scent, is not a physical thing. It means something. It is a sign of something—something bad, something amiss, something out of kilter in her house. She can feel it somewhere, growing, burgeoning, like the black mould that creeps out of the plaster in winter.

Agnes’s concept of death has, for a long time, taken the form of a single room, lit from within, perhaps in the middle of an expanse of moorland. The living inhabit the room; the dead mill about outside it, pressing their palms and faces and fingertips to the window, desperate to get back, to reach their people. Some inside the room can hear and see those outside; some can speak through the walls; most cannot.

The idea that this tiny child might have to live out there, on the cold and misted moor, without her, is unthinkable. She will not let her pass over.

She fears her foresight; she does. She remembers with ice-cold clarity the image she had of two figures at the foot of the bed where she will meet her end. She now knows that it’s possible, more than possible that one of her children will die, because children do, all the time. But she will not have it. She will not. She will fill this child, these children, with life. She will place herself between them and the door leading out, and she will stand there, teeth bared, blocking the way. She will defend her three babes against all that lies beyond this world. She will not rest, not sleep, until she knows they are safe. She will push back, fight against, undo the foresight she has always had, about having two children. She will. She knows she can.

Hamnet, in this place of snow and ice, is lowering himself down to the ground, allowing his knees to fold under him. He is placing first one palm, then the other, on to the crisp, crystalline skin of snow, and how welcoming it feels, how right. It is not too cold, not too hard. He lies down; he presses his cheek to the softness of the snow. The whiteness of it is glaring, jarring to his eyes, so he closes them, just for a moment, just enough, so he may rest and gather his strength. He is not going to sleep, he is not. He will carry on. But he needs to rest, for a moment. He opens his eyes to reassure himself the world is still there, and then lets them close. Just for now.

Judith weeds the garden, runs errands, tidies her mother’s bench. If her mother asks her to run and fetch three leaves of bay or a head of marjoram, Judith will know exactly where they are. All plants look the same to Susanna. Judith spends hours with her cats, grooming them, communicating with them in a language of crooning, high-pitched entreaties. Every spring she has kittens to sell; they are, she tells people, excellent mousers. She has the kind of face, Susanna thinks, that people believe: those wide-set eyes, the sweet, quick smile, the alert yet guileless gaze.