Four Scenes from São Tomé

This is a riff on several of the possibilities discussed in the Jewish São Tomé thread; the first scene is OTL, the others follow from three of the PODs suggested in the comments.
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I: 1496

Miriam, said the wind. Miriam

Even after three years, María still listened to the wind. It spoke to her in her mother’s voice, called her by the name she’d been called as a child. She could no longer remember what her mother’s voice sounded like, except when the wind whispered it to her.

Three years, and she wasn’t a child anymore. No one was a child after three years here: three years on this island that God had forsaken, a place of fever, men with whips, a strange new God, the harsh accents of slaves. Three years since a king she’d never known, in a palace she would never see, declared the Jewish children forfeit for want of a head-tax their parents couldn’t pay.

María was twelve now, soon to be thirteen - a woman, according to the law her mother had called to her to keep. But in fact, she’d been a woman since the first days on the slave ship. She’d been one of the oldest of the stolen children, and the others had looked to her. She’d taught them their prayers when nobody was looking, nursed them here on the island when they fell sick from fever, buried them when her nursing failed. No one was still a child who had dug a grave.

She was free now; at least there was that. Dom Alvaro had come out to the sugar fields one day and told them: the new king had canceled the decree of the old. María, and the others who still lived, were slaves no more. But slave or free, they were still here. There was no going home; there was nothing but cutting sugar cane, logging on the mountain ramparts, and listening to Father João tell them they must forsake their God and honor another. María could look at the black men in the fields now and think, I am free, but she was as much in others’ hands as they were.

But there was memory, and there were others to share it.

There was a sound of footsteps behind her, and she saw Manuel: another of the oldest children, another survivor, a man. He’d brought the others here, to this natural clearing deep in the rain-forest, and he’d made sure no one saw them.

They sat the younger ones down in a circle and looked up past the canopy to the sky, where the first sliver of the new moon could be seen. “The new moon is how we know it’s the new year,” María said. “And the new year should be sweet. How should I make it sweet for you - with a story or a song?”

“A song! A song!” the children clamored.

She tried to think of one, and then remembered a poem her mother used to sing, a Ladino song four hundred years old; not a sweet one after all, but one that seemed to fit the occasion. My heart in the East, she began, and I at the farthest West: how can I taste what I eat or find it sweet, while Zion is in the cords of Edom and I taken from its arms

“What does that mean?” one of the girls asked.

“Listen, and I will tell you…”

________

II: 1500

It was raining, but María no longer noticed. She was conscious of three things: pain, exhaustion and Ibekwe’s hand holding hers. A day and more now, light and dark, screaming in agony and crying in despair, and those had been the only things that were constant.

“It’s coming,” he said. “Only a little longer now.” He’d said that an hour ago, and an hour before, but she could feel that the child was in a different place. It would happen soon, if she could last that long.

She opened her eyes, tried to focus on the soft green light coming through the forest canopy. The scene swam in front of her. “We shouldn’t have stopped here,” she said. “Not here.”

He squeezed her hand. Constant. “There was no place else to stop. Your pains were coming. We wouldn’t have made it back to the village.”

“No, not there. But not here…” Her head jerked to the side as the child tried to move a little further. The hills began a mile or two away, a carpet of green rising into mist. But between here and there was the old sugar plantation, the reason why both of them had once been destined to be slaves. It was years now since the sugar cane rotted in the fields, since the king’s men left behind fields and slaves both, but still it stood, low buildings and fences made of boards that no one dared reuse. Even when the forest reclaimed its own, there would be too many ghosts there.

“Quiet, quiet,” he said, his hand still in hers, his other hand mopping her forehead with a scrap of cloth soaked in rainwater. “Push again. I can see the head. It’s almost out now.”

“A boy or a girl?” They’d agreed that he would name the child if it were a boy, and she would if it were a girl. She wanted a daughter more than anything. A Jewish girl to bear more Jewish girls, here in this land where they’d been abandoned.

“We’ll know soon. Chukwu will tell us soon.” Chukwu was what he called God. So did she, now, most of the time. There were grown men and women among the African slaves, and they knew better how to survive in this country; the Jews spoke their language now, and Hebrew when they prayed, and Ladino only when they dreamed.

Maria cried out again, and the child moved another fraction of an inch, but something felt different now. The baby wasn’t kicking any more, as if it were just as exhausted as she was. “Something’s wrong,” she said, terror overcoming pain; even in her homeland, with a thousand years of midwives’ knowledge at every childbed, women died when this happened.

Ibekwe looked, and he saw. He took his hand from hers, and the shock of the severed contact was as sharp as her birth pangs. A moment later and both his hands were deep inside her, moving the baby gently, helping her to push it out.

There was an emptiness inside her vast as when she’d been taken from her parents. An absence of child. An absence of pain. She realized that she’d closed her eyes again, and looked hesitantly at him.

His face told her before his lips did. “It’s dead, María.” He held the stillborn child in the crook of his arm, limp as a rag; a nut-brown girl with sparse black hair, her grey eyes unseeing. The baby was, María decided, beautiful.

“Rachel,” she said. That was what she’d decided to name the child, if it were a girl. And then: “We shouldn’t have stopped here.”

“No, we shouldn’t have. But you’re young and strong. There will be another, and it will live.”

She was crying. She didn’t know when she’d started crying. His hand took hers again, and she heard him whisper, words she hadn’t known he possessed, the Hebrew mourners’ prayer.

Yit gadal v’yit gadash sh’meh rabbo

________

III: 1511

There was a town now, where the landing used to be; a real port where the Indiamen stopped to take on water, the slavers to do their vile trade, and the men-of-war to unload their prizes. It was a place of merchants and notaries, of counting-houses and churches, a place where the sugar planters spent more time with their bankers than in their fields. A place where people might come and say, here is Portugal brought from over the sea.

Night was falling in that place, and in a house at the edge of the town, María tended her stove. There were others with her: her husband Manuel, her daughter Rachel and son Nuno, a few of the other New Christians who’d come to share this day with them. New Christians, they were called, made anew when they were ripped from their parents’ arms and put on the slave ships at Lisbon harbor. They were Jews before they were Christians, and God willing, they would be Jews after.

Rachel had set the table with the best they had, the white cloth that María had spun, the silver they’d been able to scrape together during the eight years they’d been free. The others were seated now, exchanging greetings as if this were any other day, waiting.

“Draw the curtains,” María said, although they were already drawn. She went around to each one, checking that not a scrap of light could enter.

“No one can see,” Manuel chided. “Come and sit. Let us begin.”

Easy for you to say. Manuel had always been easier, even in the days of slavery; he’d never been as worried that his secrets might betray him. He laughed at María for that, sometimes. But her ways had stood her in good stead, hadn’t they? When she’d learned about that slave – Ibekwe, his name was – planning an uprising, she hadn’t told a soul, hadn’t hinted of it to anyone until she and Don Alvaro were alone. By keeping the secret, she’d been able to name her price: freedom for the Jews after ten years of service, freedom to stay as overseers in the sugar fields or to come to the town.

For Ibekwe, her secret had meant the gallows. For her… a house in Portugal-beyond-the-sea, with drawn curtains and a lamb’s bone on the plate. And people at the table who shouldn’t be kept waiting any longer.

She took the chicken off the fire and sat down with the others to begin the Seder. They forgot a few more words of it every year, but between them, they remembered enough from their childhood to tell the story as it should be told. “Why is this night different from all other nights?” Nuno would ask in a few moments, and they would know the answer.

“We were slaves of the Pharaoh in Egypt,” Manuel would say, “but the Lord brought us out with his strong hand.” He would tell Nuno of the rigors of the tasks that Pharaoh had set, and the harshness of the taskmasters’ whips. But the Jews were free from that now, even those in this place, who’d been brought as slaves in the modern day.

And now, thanks to María, the Jews were the overseers, and who would free them from that?

“Now we are here, next year may we be in the land of Israel,” she heard Manuel murmur. “Now we are slaves, next year may we be free men…”

________

IV: 1493

“Can you see it?” María’s father asked. They stood together by the ship’s railing at sunrise, looking south to what would now be their home.

She could. The island rose from the sea like an emerald jewel, spires of bare rock emerging from the forest in the highest places where they met the clouds.

“It’s beautiful,” she said, with all the gravity a girl of nine could muster. “Will we live on the mountain?”

Her father laughed. “Of course not. Think how far we’d have to go to do our washing.” His hand rested on her shoulder, and his voice became serious. “We’ll live by the sea with everyone else. The sugar planters will need me to make their tools, and I need to be near them.”

She nodded, satisfied with the answer. “Will I see the black men? And the lions?”

“No lions here. We may see the black men, if they come to trade.” Or if they come as slaves, but there’s no need now to burden her with that.

“Why don’t we go where the lions are?”

“Because Dom Manuel doesn’t want to settle the lions’ country. This is the land he gave us, so we can plant sugar and grow food for the Indiamen. This is the place where no one will make us leave, like we had to leave Spain. This is where we can wait until it’s time to return to Israel.”

But María wasn’t listening any more; she’d run off with Manuel, a child her own age, the one she laughed at because he had the same name as the king. They crowded the railing and pointed at the island together, picking out features, giving them names.

Her father looked at them, and at the sea beyond, and at the shoreline that was slowly taking the shape of a harbor.

“In the new land,” he said, “we will call you Miriam.”
 
Elegantly written as per usual. I do not really have much to say, unless you are looking for some sort of feedback as to which POD people prefer?

In which case, II
 
Elegantly written as per usual. I do not really have much to say, unless you are looking for some sort of feedback as to which POD people prefer?

In which case, II

The consensus on the thread seems to be that some variation of IV is the most plausible, but I agree that II (closely followed by III) makes a better story. If I were planning to set a novel in São Tomé - which I'm not, since at least two other people have apparently written novels about the stolen children - I'd definitely pick option II, with the first few chapters between 1490 and 1510 and the rest of the story picking up in 1650 when the island is resettled.

But no, I wasn't really looking for feedback as to the preferred POD, although such feedback is certainly appreciated. The thread inspired a story, and I just put it here for anyone who might be interested in reading (as well as anyone who might want to indulge my childish desire for appreciation, which you have now done :)).
 
The consensus on the thread seems to be that some variation of IV is the most plausible, but I agree that II (closely followed by III) makes a better story. If I were planning to set a novel in São Tomé - which I'm not, since at least two other people have apparently written novels about the stolen children - I'd definitely pick option II, with the first few chapters between 1490 and 1510 and the rest of the story picking up in 1650 when the island is resettled.

But no, I wasn't really looking for feedback as to the preferred POD, although such feedback is certainly appreciated. The thread inspired a story, and I just put it here for anyone who might be interested in reading (as well as anyone who might want to indulge my childish desire for appreciation, which you have now done :)).


In which case my work here is done!
 
In the story #3 (and perhaps in #1) the New Christians seem doomed...
Story #2 could be a continuation of story #1 and #4, couldn't it?

You do write entertaining stories. Aren't you really going to pick any to continue?
 
II sounds nice. I can't wait to see how this story goes and what influences will a Jewish colony have on Portuguese history.
 
Thanks to everyone for the praise.

In the story #3 (and perhaps in #1) the New Christians seem doomed... Story #2 could be a continuation of story #1 and #4, couldn't it?

You do write entertaining stories. Aren't you really going to pick any to continue?

Story 1 is OTL - the New Christians did eventually fade away, but the Inquisition complained about continuing Jewish practices (and lax enforcement) on São Tomé well into the 17th century, so they lasted more than a hundred years. In scenario 3, I'd expect them to last at least as long - there will be more attention on them due to their greater social prominence, but they're also better organized for cultural transmission - but you're probably right that they're doomed in the end.

I could see story 2 as a continuation of story 1, if the sugar crops fail after 1496 (although I'd envisioned timeline 2 as one where the red-rot came with the original sugar cane plantings in 1493-94 and couldn't be eradicated, causing the settlement to be abandoned). Story 4 is your POD in which Manuel becomes king earlier and colonizes São Tomé with free Jewish families, and so will not lead to timeline 2.

Anyway, maybe I will update this from time to time, when I need a break from Malê Rising. I'll probably continue story 2, since that one is drawing the most interest, maybe starting with a few prequels to lay out the settlement of the colony and its abandonment. Or alternatively, I could continue all four in "Sliding Doors" style, tracing the life of María and her descendants in the different timelines. (Is it clear that all four stories are about the same person?)

Thanks again -
 
I could see story 2 as a continuation of story 1, if the sugar crops fail after 1496 (although I'd envisioned timeline 2 as one where the red-rot came with the original sugar cane plantings in 1493-94 and couldn't be eradicated, causing the settlement to be abandoned). Story 4 is your POD in which Manuel becomes king earlier and colonizes São Tomé with free Jewish families, and so will not lead to timeline 2.
Oh, OK. Story #2 had a very entertaining dramatic effect but I failed to understand what the PoD was. Maybe I missed something but I only got that she lost her baby and wasn't sure whether she's openly Jewish or Crypto-Jewish.

Is it clear that all four stories are about the same person?
Sure. The alternate lives of Miriam/María/Maria: a Jewish girl of Spanish origin that ended up in São Tomé under different circumstances. ;)
 
Thanks to everyone for the praise.



Story 1 is OTL - the New Christians did eventually fade away, but the Inquisition complained about continuing Jewish practices (and lax enforcement) on São Tomé well into the 17th century, so they lasted more than a hundred years. In scenario 3, I'd expect them to last at least as long - there will be more attention on them due to their greater social prominence, but they're also better organized for cultural transmission - but you're probably right that they're doomed in the end.

I could see story 2 as a continuation of story 1, if the sugar crops fail after 1496 (although I'd envisioned timeline 2 as one where the red-rot came with the original sugar cane plantings in 1493-94 and couldn't be eradicated, causing the settlement to be abandoned). Story 4 is your POD in which Manuel becomes king earlier and colonizes São Tomé with free Jewish families, and so will not lead to timeline 2.

Anyway, maybe I will update this from time to time, when I need a break from Malê Rising. I'll probably continue story 2, since that one is drawing the most interest, maybe starting with a few prequels to lay out the settlement of the colony and its abandonment. Or alternatively, I could continue all four in "Sliding Doors" style, tracing the life of María and her descendants in the different timelines. (Is it clear that all four stories are about the same person?)

Thanks again -

The issue I have with Male rising, like the other good timelines (see MNP, EdT, Jared etc) is what one does with them outside of a place like this...

That is no criticism, more a question as to their place in publishable literature
 
Oh, OK. Story #2 had a very entertaining dramatic effect but I failed to understand what the PoD was. Maybe I missed something but I only got that she lost her baby and wasn't sure whether she's openly Jewish or Crypto-Jewish.

Maybe I should have said more about how the sugar plantation in #2 came to be abandoned.

María is openly Jewish, but she is progressing toward a "Judaism" that will include many aspects of Igbo religion. The Igbo ex-slaves are going in the same direction and have already adopted some Jewish customs by this point in the story; a future update might explain how that began.

(There are Igbo Jews in OTL, and various lost-tribe myths centering on the Igbo, as well as a few striking similarities between Igbo and Jewish cultures. I'd expect the lost-tribe legends to get much more play in timeline 2 after the lost colony is rediscovered.)

Julius Vogel_6103540 said:
The issue I have with Male rising, like the other good timelines (see MNP, EdT, Jared etc) is what one does with them outside of a place like this...

That is no criticism, more a question as to their place in publishable literature

This is their place, isn't it? There's another novel I'm writing for publication, which is currently on its second draft; serious AH is more a labor of love. I'm not really planning to "do anything" with Malê Rising other than to continue it for my enjoyment and that of my readers; I just like the way that timelines turn into conversations, and the way that writing one can expand my horizons and cause me to think about historical cause and effect in a different way.

And tell stories, of course. I like telling stories. It wasn't long ago that I thought I didn't have any left in me.
 
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Maybe I should have said more about how the sugar plantation in #2 came to be abandoned.

María is openly Jewish, but she is progressing toward a "Judaism" that will include many aspects of Igbo religion. The Igbo ex-slaves are going in the same direction and have already adopted some Jewish customs by this point in the story; a future update might explain how that began.

(There are Igbo Jews in OTL, and various lost-tribe myths centering on the Igbo, as well as a few striking similarities between Igbo and Jewish cultures. I'd expect the lost-tribe legends to get much more play in timeline 2 after the lost colony is rediscovered.)



This is their place, isn't it? There's another novel I'm writing for publication, which is currently on its second draft; serious AH is more a labor of love. I'm not really planning to "do anything" with Malê Rising other than to continue it for my enjoyment and that of my readers; I just like the way that timelines turn into conversations, and the way that writing one can expand my horizons and cause me to think about historical cause and effect in a different way.

And tell stories, of course. I like telling stories. It wasn't long ago that I thought I didn't have any left in me.

Well yes, this is their place, but I kind of wish they could be circulated more widely. Anyway
 
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II: 1495

Even the sugar dies here.

The dead and dying stalks surrounded María, rising into the ghostly twilight from where she lay. In the evening dimness, she could see the dark red stripes where the sections of the stalk met, and smell the sour fermented odor coming from within. They would never be harvested, but they concealed her from men and dogs both.

It seems nothing can live here. Of the two thousand children who had come with María on the slave ships, barely seven hundred were still alive. The graves of twenty of Dom Alvaro’s overseers stood next to theirs. And now even the sugar was dying, for the second year running.

The first time the red-rot struck, Dom Alvaro had cursed the thieves who’d sold him diseased cuttings, but vowed to start anew. He’d brought in more cuttings the following year from a different place, but they’d rotted too. The disease was in the soil now – or maybe there had just been so much death on this island that the sugar recoiled from it.

There would soon be more.

María could hear voices below her, Dom Alvaro calling out orders as his men surrounded the low barracoons. They’d decided to abandon the island – that had been whispered in the fields and barracks for days now. Two years of effort with nothing to show for it but rotted sugarcane and mounting debt: it was time to cut their losses and find some other place that would make their fortunes. They would go to their ships, and take the one thing of value that remained to them.

The slaves.

The thought made María shiver, and Nneoma’s hand press against her shoulder to calm her. “Mechi onu,” the older woman said: “quiet.” She felt a brief stab of shame at having to be gentled like an infant, but she realized how important it was for everyone to keep silent, and she was grateful for the other’s presence.

Nneoma had been the one who told her that Dom Alvaro planned to take all the slaves with him when he left, not only the Moors – who were black as midnight, not like any Moors she’d heard of, but Moors they surely were – but the Jews as well. And Nneoma was the one who’d told everyone how to stop him.

“They can’t take us,” María had said at first. “We’re free now, aren’t we? The new king said we aren’t slaves any more.”

“They won’t sell you in Portugal or Spain,” Nneoma had answered with a grown woman’s wisdom. “They’ll sell you to my people, or the Turks. Do you think the Turks will care whether Dom Manuel set you free or not?”

So now, here they were, lying on the ground in the dying fields, watching the overseers take their places around the barracoons, hoping that none of them would realize there were only ten people inside. It was a fearful place to be, but even so, it was easier than what she’d had to do for the past week, doing her chores and tending the garden and never letting on that she knew anything was wrong. “Slaves always know more than their masters think,” said Nneoma, who’d been a slave in her country as well, “and if we let them know we know, we’re finished.” So she’d smiled at João and Carlos, the kind ones, when they’d come to look at the garden, and she’d avoided the cruel ones’ notice like she did every other day, and she hoped the millet and yams wouldn’t betray her secret.

The millet and yams don’t die here. They’re strange, but this is their country. The Moors survive here too.

“Come out!” Dom Alvaro shouted, and his men banged on the doors of the barracoons. From within came shouted consternation and the noise of heavy things being knocked over, but the doors didn’t open.

“Come out now! You won’t like what we do if we have to make you come out!”

A minute passed, and two. There was the sound of something large being dragged, as if the doors inside were being barricaded. That was evidently the last straw for Dom Alvaro, because the next thing that María saw was a red glow, and she heard the crackling of flames, and she realized that the men must have set the buildings on fire.

“Now you’ll come out or burn! Which is it?”

In spite of herself, María inched forward to the edge of the escarpment. She could see the flames spreading around the barracoons, and more cries of panic from inside, and then the opening of a door. Dom Alvaro urged his men forward to capture the slaves that would surely be fleeing in the next moment.

And that second, when the overseers’ attention was on the door and nothing else, was when the Moors outside fell on them.

One instant there was a rustling from the dead sugarcane stalks, and the next there were battle-cries, and the flash of machetes. Ibekwe, a Moor of seventeen rains – that was how years were counted here – led the charge, and for a moment, the moonlight made his machete glow the same blood-red color as the cane. And then it found its target, sending one of Dom Alvaro’s men to the earth in a fountain of blood before he had time to scream.

Ten of the overseers died in the first rush, but the others closed up back to back, drawing their swords, and the ones behind the barracoons fought like madmen, cutting their way through the Moors to get to their comrades. Only a few of them were armored, but their swords were longer than the machetes, and they’d fought together before.

And then María saw Manuel, one of the Jews her own age, fighting in the Moors’ ranks. The oldest of the Jews were still not yet thirteen, but some of the boys’ pride wouldn’t let them hide in the fields while the black slaves fought. Pride bought them little. Manuel swung his machete at João, making him step back to parry. The overseer hesitated for a moment when he realized he was facing a child – he was, after all, one of the kind ones – but the child in front of him was trying to kill him, and his arm knew what to do before his head did. João’s Toledo sword swept up in a wicked arc, and Manuel fell back with a slashed throat.

Nneoma’s hand pressed on María, harder this time, before she could call Manuel’s name. Now more than ever, it was vital to keep silent; if Dom Alvaro realized that the women and children were in the field, he might decide to abandon the men and seize them instead.

And Manuel was right – if we want to live here, we must be like the Moors, become hardy like they are. Maybe that was already happening; far fewer Jews had died of fever the second year than the first.

Down by the barracoons, Dom Alvaro’s men were retreating. Many Moors, and most of the Jewish boys who’d fought with them, were wounded or dead, but they still outnumbered the overseers by more than five to one, and the master had realized that even Toledo blades wouldn’t buy them victory against those odds. They made for the ship, still back to back, daring Ibekwe and the other Moors to stop them, but no one did; with their freedom won, the slaves saw no more reason to die.

“They’re going,” María whispered. Then it struck her: “They’re taking the ship. We’ll never go home.”

“Maybe Moses will part the waters for you, like he did long ago.” María turned to Nneoma in astonishment – where had she ever heard of Moses? – and realized that the older woman had not only learned something of the Jews’ ways while the Jews were learning hers, but could make them into a jest.

How can she joke like that, after a battle? But if we can’t laugh in the face of death, when can we?

Our gardens live. The Moors live.

So will we.
 
All right, here's how I'll do this:

  • I'll update all four stories.
  • I won't necessarily do so in any particular order or on any set timetable: it will be as inspiration strikes.
  • The story will follow María's life, "Sliding Doors" style, in all four timelines.
  • I'll probably take each of them through María's lifetime, with epilogues 50, 100, 150 and 200 years after that.
Nothing's etched in stone yet, though, so suggestions and criticism are welcome as always.
 
All right, here's how I'll do this:

  • I'll update all four stories.
  • I won't necessarily do so in any particular order or on any set timetable: it will be as inspiration strikes.
  • The story will follow María's life, "Sliding Doors" style, in all four timelines.
  • I'll probably take each of them through María's lifetime, with epilogues 50, 100, 150 and 200 years after that.
Nothing's etched in stone yet, though, so suggestions and criticism are welcome as always.

Seems like an excellent idea to me. :)
 
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