Customer Reviews

Testimony of an Irish Slave Girl

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Reading some of the customer reviews I gather that some people were disappointed because this novel is not more dramatic-- even an editorial review remarked on a distant feeling in the narrative. To be fair I think this is a fault of the book jacket which leads a reader to imagine this will be a 20th-century style romance, a bit more like Roots.

No. this book never lets you to forget it is the 17th-century, and the style of the testimony and even Cot's early memories of Ireland are told in a way that shows harshness and low expectations of life. Neither the main narrator, the former slave girl (an old crone in her forties at the time of the book's opening) nor her deposer, a young "apothecary" (doctor), come from a world as safe and civilized as ours (for all the fault's in today's world).

But look again to the title. The book is testimony, and it is a testament to a period and an event that few know about-- the impressing of "indentured servants" (i.e., slaves) from Ireland. "Impressing" is code for "kidnapping." The book's heroine, Cot Quashey (nee Daley) is kidnapped at a little over 10 years old, and grows up in this strange new world. It's a very harsh world, although one does have the impression that it's fairly harsh for masters too.

What is remarkable is how quickly most of these slaves adapted to the utter brutality-- forced breeding programs, life in low shacks they built themselves, long labor. Romance of all kinds is played down-- it is a little disappointing that Cot's beauty is so hinted at without the book ever fulfilling the promise of a steamier romance.

If you come to the book without the expectations of an intimate acquaintance with a sympathetic, fairly modern heroine, you will find a fascinating journey. The doctor interviews Cot because his employers want to find the connection between the Irish workers and the African slaves, that led to the wave of rebellions on the island. Even at the end of the story he doesn't see it, but we do. Cot at first identifies with her captors (like a young Elizabeth Smart) because they are the ones who can save her. So she betrays one rebellion while still young, something she bitterly regrets at the telling. But over the course of her life her loyalties shift.

She is a creature with many faults-- jealousy, and a certain amount of cowardice. But she is very human, and a testament to the human will to survive.

This is a slim book-- like a deposition, again, not a true novel. And it is absolutely fascinating. Cot comes from a long
line of "seanachies"-- storytellers-- and it shows in her gift for description and honesty. Hers was a bleak and terrible life, yet she never succumbed to absolute bitterness and despair, finding joy in her children (an interesting point and one that rings true is the deep attachment mothers had to their babies even when they came from a "breeding program") and taking what pleasures she could in her existence.

It's terrible to think people could so abuse each other-- it was an Irish barmaid who contributed to her kidnapping-- with no remorse, but the times were harsh. That the servants/slaves revolted as often as they did is a testimony to the resilience of human nature even in bondage. I think this book is a must-read for Jews and Blacks (I read this over Passover) and anyone from any people who have been oppressed (including, perhaps, women!). Though the ending is ambivalent, if you read between the lines there is enormous hope in her tale.

While readers share an awareness of the brutality of slavery, few realize that the slave trade of the seventeenth century included Irish men, women, and children who were transport to the cane fields of Barbados. Eventually, uprisings reached across cultures to unite blacks, Irish, and other races in a bid for freedom that was tragically quashed. Based on these historical events, author Kate mcCafferty's debut novel reveals this often forgotten bit of history, exploring a world of indentured servitude perpetrated by the British who kidnapped and enslaved Irish Catholics.

Peter Coote hauls Cot Quashey in for interrogation following the failure of an uprising that resulted in the death of all but this one surviving conspirator. Cot offers to relate the truths surrounding their rebellion in exchange for the freedom to relate her entire life history. As Peter records her story, he finds that he feels impatient and sympathetic in turns. He often exhorts Cot to get on with her tale; a sentiment the reader will likely echo at times.

Cot's almost forgotten memories of Ireland and family quickly give way to the horrors of kidnapping and the long voyage to Barbados, a land as beautiful as paradise, and deceptively dangerous. Initially bought by a kind master, Cot's maturing beauty eventually leaves her mistress feeling threatened. When she catches the eye of her master, Cot eventually betrays her fellow slaves' plan for freedom. Nevertheless, her master gambles Cot away to harsher existence where she learns of the brutalities of slavery that extend far beyond mere physical existence.

Author Kate McCafferty uses an unorthodox narrative style to relate her tale that some readers may find distracting. Cot orally relates her life history in a first person narrative. While such a style lends a sense of immediacy to the tone of the book, it also slows the pace, leaving readers as impatient as Peter. Nevertheless, McCaffrety captures the drama of this fictional heroine's life with rich nuance and historical accuracy. Even readers familiar with slavery tales will find Cot's story differs widely from traditional slavery narratives. Indeed, Cot's tale provides fascinating insight into this footnote of history, coming highly recommended.

In this extensively researched historical novel, author Kate McCafferty uncovers a little-known area of history: the 'trepanning'(forced immigration into slavery) of Irish and other whites to Barbados in the 17th C. Cot Daley, who is kidnapped at the age of 11, endures a 'middle passage' similar to that taken by African slaves to her new, 'hellish' home in the New World. The novel is written in the form of a deposition that the now elderly Cot Quashey delivers to Peter Coote, an apothecary charged with unearthing evidence from an aborted slave-servant revolt on the island in which Cot played a minor role. Cot promises information, if only Coote will take down her entire life story (which he does with increasing frustration). We learn of Cot's endless suffering, both in her work on sugar cane plantations and in her personal life. There are only fleeting moments of happiness, some with her eventual 'husband', an African named Quashey, who becomes the leader of a thwarted rebellion (there were several unsuccessful attempts by enslaved whites and Africans during the 17th C). There are few joys in Cot's life -- the novel is depressing in its realism -- yet, by the end of the book, she has gained a certain nobility of purpose. McCafferty provides an in-depth character study of a flawed woman who only wants her personal freedom...and is denied such by circumstance and the men in her life. Well worth reading.

Wow! Is all I can say. Kate McCafferty draws you into a world that many Western readers could never fathom. A world in which Irish men, women, and children are sold, alongside African slaves, as nothing more than cattle. This is a brilliant book that tells a story that has been given very little or no attention by mainstream history--and hence, it is all the more compelling. Lyrically written, I suggest that anyone interested in the lives of women, or the Irish, read this book!

After having conquered Ireland and carried out many massacres, atrocities (also carried out by Catholics on the local Protestant communities) and burning or torturing bishops and priests to death, Oliver Cromwell nominated his fourth son (Henry) as Lieutenant and Govenor General of Ireland.
Between 1652 and 1659 records show between 50 to 80,000 Irish men, women and children were transported to Virginia and Louisina(USA), Barbados, Monserat, Trinidad-Tobagos, Jamaica etc, in the Ethnic Cleansing of the Irish. The real figures were much higher.

These 'God Fearing Christians' could only enslave other 'pagan' humans and hence used the term 'indentured servants' (for mainly Irish, Scots and poor English) all that was available before an adequate supply of African slaves could be found at a later stage. After too many revolts, the Irish sent were mostly women and were coupled with Africans to increase their master's stock of slaves. In the beginning of the 1700's there hundreds of thousands of Afro-Celts ('Black' and 'Redshank/Redleg') who's main language was Gaelic (reared from the breast of their mothers) in many of the West Indies.
This book relates the Story of 'Cait' or Kate Daley kidnapped from Co. Galway at the age of 10 in 1651. Cait (who is no saint in the book) was married to an African rebel leader, Quashey ('Quaco'- a Moslem Coromantee).
Written, as if an eye has been kept for a Movie/TV series (which should be done), in the beginning includes too much detail and doesn't get started until page 60.
The detail was very relevant in the second part of the book (page 60+) and shows the benefit of good research. Through her storey we begin to understand the nature and glimpse the actual conditions for the slaves. You also gain some limited insight into the noble mind of Quashey and other Africans.
Although not a 'page turner' until the second part of the book, I found it very provocative and insightful of the human condition in these circumstances and the general working relationships between humans and between the different races/tribes.
The grinding system, that treated humans as animals or utilitarian livestock - is one that exists in the world to this day. A shame no mention was made to the 'Levellers', although there is a passing reference to that noble community, the 'Quakers'.

Back in Ireland the oppression continued and although people were not allowed wealth they did have a rich inheritance to pass on, one that was not then known to their 'masters' and never conquered.
Every clann had it's traditions and every Irish child had a 'right' to request from a parent or an aunt/uncle to teach them the skills in storey telling, writing, poetry, music, dance, politics and religion. Thus the Irish kitchen became the theatre, auditorium, ballroom, school room and library. Despite over 800 years of harsh rule, and thanks to the strong role of Celtic women in Ireland, even managed, in some places, to keep the language (Gaelic) intact to this day. As the saying in Gaelic goes, 'a Country without a language is a country without a soul'.
It was the theft of her inheritance, fear(as represented by the fear to play tin whistle her mother gave her) and being 'orphaned' that impoverished Cait and made her vulnerable.
In the narrative, Cait's testament (now old and brown but giving her story) is passed onto her 'orphaned' slave daughter (Betty) by somebody else's mixed race offspring. Whatever happened to her other daughter (Moya)?
This book itself acts as a 'testament' to the Afro-Celt/Afro-Irish diaspora who should 'RECLAIM' THEIR INHERITANCE (African & Celt) of their valiant ancestors, to pass onto their children. So that they can make their 'Tin Whistle' play music again. Not to be afraid, else like Cait will only be a beast of burden swallowed up in this life, deprived a direct connection to their children, with only a few material possessions to show. Like Cait, Confused-Isolated-Angry, and end up doing too little too late.
For those looking for some initial historical research see 'To Hell or Barbados-the Ethnic Cleansing of Ireland' by Sean O'Callaghan [Brandon]ISBN:0863222870 'To Hell or Connaught' by P. Ellis ISBN:0856404047, 'Whence the Black Irish of Jamaica' by Joseph Williams [LMac Veagh, Dial Press-1932]ASIN:B0006ALQP2, 'The World Upside Down' by Christopher Hill ISBN:0140137327, 'Quakers in the Cromwellian Army in Ireland' by Kenneth Carmel 1978, 'The English Levellers' by Andrew Sharp[Cambridge University Press]0521625114, 'White Servitude and Black Slavery in Barbados' by Beakles[Knoxville 1989].
Also the famous musician Antoni O'Breskey has produced a CD 'The New Orleans Jig' on this Afro-Celt mix[Ethnic Piano series]. In memory of Kelso Cochrane - Notting Hill, London
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This book is interesting because it tends to broaden an issue that has been narrowly covered. The history of slavery of course crosses all racial and ethnic boundaries. In America that story has been suppressed. The afrocentric view of American scholarship has created a polarized and fractured society in which the issue of slavery has been crafted into solely a racial issue in which an endless cycle of guilt and hate and rage continues. In the real world, oppression and challenges have faced all groups depending on time and place. This book reveals the universality of issues such as this and for that reason is highly recommended.

When writing historical fiction there always has to be a balance between rendering a cerdible and accurate history, and creative a narrative which is compelling for the reader. In this novel the sweep of history is such that the characters are often mere excresences, even while one of them is supposed to be the central character. If Cot is an every woman, or every Irish taken, then we can understand all of the terrible events which weigh down the book. Less is sometimes more. We can appreciate the passionate outrage which first provoked the author to pen this story, and the modern liberalism which got this across the editor's desk and into print, but the plight of the Irish has been done better elsewhere. The book is unrelentingly gloomy and the narrative is jarring and does not ring true. For those readers with a background in Irish or colonial studies, it is seriously flawed. There is also a difficult balance between writing for readers who know nothing, and ones who are ardent about their hobby and know far more than the author, or indeed more than many academics, as I have discovered from the exceptionally erudite amateurs I have met in my own writing career.
The author is to be praised for her talent and imagination, and Penguin for taking a risk on this book. They are to be criticised for not producing something more tightly constructed with more rhythm and flow, and historically accurate. Still, well done on a book that will be talked about, and thus raise awareness.

I ask three things of historical fiction: an authentic, memorable voice, a vivid sense of place, and a story so well told that I want to learn more about the historical events on which it is based. Testimony of an Irish Slave Girl delivers admirably on all three counts. Cot Quashey's voice and her description of Barbados is so well written that it seemed as if I were sweating in that stifling room with her and Peter Coote, the character who records her spellbinding narrative. And before the day is over, I hope to own a copy of To Hell and Barbados by Sean O'Callaghan, a nonfiction work about Irish slavery in Barbados.

The pace of Testimony reminds me of Cold Mountain, in which the reader walks every step with a soldier painfully making his way back home. Like Inman, Cot Quashey takes the reader on a journey through time and misery at a pace that perfectly matches the geographic setting of her tale. When Coote grows impatient with the ramblings of a dying woman--indeed, is annoyed by the putrefication of her rotting flesh--readers are reminded that stories of slavery are always discomfiting. We wish they had never happened; we long for them to end. But Cot has her way. Coote, and the reader, must hear every beautifully-phrased, horrific word.

I particularly like the deposition device that the author employs. She stretches it to suit her purpose--this is fiction, after all--but it's historically accurate and calls to mind Thomas Gray's actual interview of the enslaved Nat Turner while he was waiting in his cell to be hanged. I also liked the cultural commonalities that the Irish Cot and her African husband discover between them. Quashey is distressed because his enslavement means that "ancestors could no longer guide" him and his people. Cot remembers that she said "many holy charms and tales; but the heart has gone away from them. My saints can no longer find me." Kate McCafferty bravely and imaginatively addresses a subject often ignored by historians who focus solely on the tragedy of Irish-Black relations: as much united these oppressed peoples as separated them.

In "A Conversation with Kate McCafferty" at the end of the book, the author notes, "There's been a recent trend against histories in the genre of a novel. I think it's a kind of postmodern stance . . . " I agree. Shame on postmodern academics who sniff at McCafferty's book while using it in a classroom setting. They would be better off sticking to the dry, lifeless prose written by their colleagues. A writer of historical fiction does not spend years researching and crafting a story so that teachers incapable of writing such a work can then turn it into instructional material. At its best, literature can motivate, inspire, entertain, and change the heart of a reader. Its potential should never be destroyed by using it as a textbook or comparing it to one.

Born in London and being of Irish decent myself; also having suffered living in Barbados for almost 10 years, I found this book very readable indeed. I'd truly love to meet the lady that wrote this masterpiece. I don't have any fancy words to add here - just my sincere thanks... thanks very much Kate McCafferty for turning me onto a whole aspect of my heritage I knew nothing about. After this I read "To Hell or Barbados" by Sean O'Callaghan and it's a historical account (not a novel) of the "ethnic cleansing of Ireland" and truly a shocking read. Thank you.

The narrative of Cot Quashey draws you through this historically-inspired novel. Anyone who criticizes it for glossing over this or that historical detail should be reminded that it is a novel -- it's not a history textbook. But it does shed light on a little-known corner of history, while raising issues of racial, class, and gender relations that are still relevant today.