Because of their racially mixed marriage, the lead characters in Christopher Tilghman’s third Mason family novel, Thomas and Beal in the Midi , must escape their home, an old family farm in Queen Anne’s County. Beal Terrell, the beautiful daughter of the black farm manager, and Thomas Bayly, the son of the white owner of Mason’s Retreat, grow up together as children. After their wedding, they quickly sail for Paris to escape Maryland’s racial hostility before it can develop. In spite of the forces working against their early friendship and marriage, their union is inevitable, as inevitable as their necessary departure.
When they arrive in Paris, a nun who earlier helped to educate another Bayly family daughter supports the couple. Beal, initially reticent, is befriended by local Parisians and some expatriate American art students. Intelligent and curious, she quickly becomes acclimated to the city and its art. Thomas, having arrived with no particular income prospects, researches winemaking in a library. Initially, he is led to this study on the chance recommendation of a pretty Irish librarian and by his familiarity with farming in Maryland. A dedicated researcher, once he learns about winemaking, he travels south to the “Midi” and buys a neglected winery to restore and revive.
In Paris, Beal encounters a Senegalese junior diplomat who forcefully urges her to leave Thomas and join him in Dakar as his third wife. The diplomat believes he can purify the young American woman from the corruption brought on by her marriage to a white man, who, he alleges, will cast her off when he’s finished with her. The diplomat understands neither the deep love between Beal and Thomas, nor her wholly American desire to decide her own path. Her strongest argument against the African’s overbearing efforts is that he repeats in late 1800s Paris what too many white slave owners did to African American women in the 1600s and after. During this phase, while Thomas is off in the Midi looking for real estate, Beal receives personal support from Arthur Kravitz, an eccentric Jewish art student from Newark.
Having become something of a Parisian, Beal is reluctant to leave the sophisticated City of Light for the provincial Languedoc region, where she finds rocky soil and rugged valleys, quite different from the gentle, mild Eastern Shore landscape. Soon, however, she makes a home of the vineyard and winery, and gives birth to her first child, named Randall for her murdered brother and Thomas’s childhood friend. She becomes the “queen” of the local area, caring for her farm’s workers and village residents. Her eager character, a humble servant-leader type, enriches the lives of all around her.
Having heard of Beal’s reputation, an African-American merchant from Boston visits the winery, intending for Thomas to become his major supplier. But he falls in love with Beal and tries to woo her away from Thomas, knowing well she has a family. Improbable as this man also may seem, Tilghman’s character-drawing skill is equal to the task, though the Bostonian seems far less a temptation than the Senegalese. Again, Beal asserts her independence and integrity.
Some readers will ask an ideological question of this novel: Is it legitimate for a white male author to create a black female character? Can he accurately and fairly portray her? This question doesn’t burden this book, at least in this white reviewer’s mind. Though some may believe that no work of art can be free of an ideological burden, Tilghman writes characters who face the race question with deep, convincing love.
Title image: Pond at Pickering Creek Audubon Center, Talbot Co. Photo: Jan Plotczyk