A Fall of Marigolds Read online

  PRAISE FOR THE NOVELS OF SUSAN MEISSNER

  A Fall of Marigolds

  “Meissner has crafted a thoughtful story about lost loves and times past, illustrating how quickly disaster can take away what we hold most dear, and how ultimately we must move forward with hope in our hearts.”

  —Margaret Dilloway, bestselling author of The Care and

  Handling of Roses with Thorns

  “Like the golden threads of a scarf sprinkled with marigolds, Susan Meissner weaves two unspeakable New York tragedies—the Triangle Shirtwaist Fire and 9/11—into a shimmering novel of love and acceptance. Meissner’s heroines, Clara and Taryn, live a century apart, but their stories are connected not just by a bright scrap of fabric but by love lost. A compelling novel, A Fall of Marigolds turns fate into a triumph of spirit.”

  —Sandra Dallas, New York Times bestselling

  author of True Sisters

  “A transportive, heartwarming, and fascinating novel that will resonate with readers in search of emotionally satisfying stories connecting past and present, and demonstrating the healing power of love.”

  —Erika Robuck, bestselling author of Call Me Zelda

  “Weaves a compelling tapestry of past and present, of love and loss and learning to love again, of two women connected through time in a rich and unique way.”

  —Lisa Wingate, bestselling author of The Prayer Box and Tending Roses

  “Susan Meissner knits the past and the present with the seamless skill of a master storyteller. A beautifully written, moving novel that had me gripped from the first page.”

  —Kate Kerrigan, New York Times bestselling author of Ellis Island

  The Girl in the Glass

  “Beautifully crafted and captivating, The Girl in the Glass is a story to savor and get lost in.”

  —New York Times bestselling author Sarah Jio

  “Susan Meissner’s prose graces each woman’s story with an intricate and fragile beauty that reflects Meg’s desperate love for Florence in the heart of the reader before she even boards the plane. In fact, this might be the most romantic book you read this year.”

  —Serena Chase, USA Today

  “Charming and smoothly paced, The Girl in the Glass re-creates the feeling of walking the streets of Florence, Italy, and is populated with warm, generous-hearted characters.”

  —BookPage

  A Sound Among the Trees

  “Meissner transports readers to another time and place to weave her lyrical tale of love, loss, forgiveness, and letting go. Her beautifully drawn characters are flawed yet likable, their courage and resilience echoing in the halls of Holly Oak for generations. A surprising conclusion and startling redemption make this book a page-turner, but the setting—the beautiful old Holly Oak and all of its ghosts—is what will seep into the reader’s bones, making A Sound Among the Trees a book you don’t want to put down.”

  —New York Times bestselling author Karen White

  “My eyes welled up more than once! And I thought it especially fitting that, having already shown us the shape of mercy in a previous novel, Susan Meissner is now showing us the many shapes of love. A Sound Among the Trees is a hauntingly lyrical book that will make you believe a house can indeed have a memory . . . and maybe a heart. A beautiful story of love, loss, and sacrifice, and of the bonds that connect us through time.”

  —New York Times bestselling author Susanna Kearsley

  “Meissner delivers a delightful page-turner that will surely enthrall readers from beginning to end. The antebellum details, lively characters, and overlapping dramas particularly will excite history buffs and romance fans.”

  —Publishers Weekly

  Lady in Waiting

  “Both the history and the modern tale are enticing, with Meissner doing a masterful job blending the two.”

  —Publishers Weekly

  “Meissner has an ability to mesh a present-day story with a parallel one in the past, creating a fascinating look at two lives where each tale is enhanced by the other. Intricately detailed characters make for a truly delightful novel.”

  —Romantic Times (4½ Stars)

  The Shape of Mercy

  “Meissner’s prose is exquisite, and she is a stunning storyteller. This is a novel to be shared with friends.”

  —Publishers Weekly

  “Meissner has a gift for intriguing, meaningful stories, and this novel is no exception. Lauren’s present-day life is mirrored in elderly Abigail’s and again in the diary of Mercy Hayworth, who lived in the seventeenth century. . . . The insights into perception and prejudice are stunning.”

  —Romantic Times (4½ Stars)

  OTHER NOVELS BY SUSAN MEISSNER

  The Girl in the Glass

  A Sound Among the Trees

  Lady in Waiting

  White Picket Fences

  The Shape of Mercy

  New American Library

  Published by the Penguin Group

  Penguin Group (USA) LLC, 375 Hudson Street,

  New York, New York 10014, USA

  USA | Canada | UK | Ireland | Australia New Zealand | India | South Africa | China

  Penguin Books Ltd., Registered Offices: 80 Strand, London WC2R 0RL, England

  For more information about the Penguin Group visit penguin.com.

  First published by New American Library,

  a division of Penguin Group (USA) LLC

  Copyright © Susan Meissner, 2014

  Readers Guide copyright © Penguin Group (USA), 2014

  Penguin supports copyright. Copyright fuels creativity, encourages diverse voices, promotes free speech, and creates a vibrant culture. Thank you for buying an authorized edition of this book and for complying with copyright laws by not reproducing, scanning, or distributing any part of it in any form without permission. You are supporting writers and allowing Penguin to continue to publish books for every reader.

  REGISTERED TRADEMARK—MARCA REGISTRADA

  LIBRARY OF CONGRESS CATALOGING-IN-PUBLICATION DATA:

  Meissner, Susan, 1961–

  A fall of marigolds/Susan Meissner.

  p. cm.

  ISBN 978-1-101-62554-5

  1. Ellis Island Immigration Station (N.Y. and N.J.)—Fiction.

  2. Immigrants—United States—Fiction. I. Title.

  PS3613.E435F355 2014

  813'.6—dc23 2013033477

  PUBLISHER’S NOTE

  This is a work of fiction. Names, characters, places, and incidents either are the product of the author’s imagination or are used fictitiously, and any resemblance to actual persons, living or dead, business establishments, events, or locales is entirely coincidental.

  Version_1

  Contents

  Praise

  Also by SUSAN MEISSNER

  Title page

  Copyright page

  Dedication

  Epigraph

  One: TARYN

  Two: CLARA

  Three

  Four

  Five

  Six

  Seven

  Eight

  Nine

  Ten: TARYN

  Eleven: CLARA

  Twelve

  Thirteen

  Fourteen

  Fifteen

  Sixteen

  Seventeen

  Eighteen

  Nineteen

  Twenty

  Twenty-One

  Twenty-Two

  Twenty-Three

  Twenty-Four

  Twenty-Five: TARYN

  Twenty-Six: CLARA
<
br />   Twenty-Seven

  Twenty-Eight

  Twenty-Nine

  Thirty

  Thirty-One

  Thirty-Two

  Thirty-Three

  Thirty-Four

  Thirty-Five: TARYN

  Thirty-Six: CLARA

  Thirty-Seven

  Thirty-Eight: TARYN

  “Ode on a Grecian Urn”

  Author’s Note

  Acknowledgments

  About the Author

  Readers Guide

  For Frank

  “Love (they say) sometimes flies, sometimes walks,

  runs with one, creeps with another,

  warms a third, burns a fourth,

  wounding some, and slaying others.

  In one moment it begins, performs and concludes its career;

  lays siege in the morning to a fortress which is surrendered before night,

  there being no fortress that can withstand its power.”

  —Miguel de Cervantes Saavedra

  The History and Adventures of the Renowned Don Quixote

  One

  TARYN

  Manhattan

  September 2011

  THE length of floral-patterned challis rested on the cutting table like a bridal bouquet undone. Its once white background had mellowed to a sleepy ivory and the blooms of bright magenta and violet now whispered vermilion and lavender, faint reminders of their former greatness. I fingered the century-old fabric, soft to the touch. It had been left to age in the sun, on a chair back perhaps, or as a dresser scarf near a south-facing window. Or maybe it had just been ignored for a period of time when something happened that caused its owner to forget where she had placed it.

  “I think it used to be quite pretty.” The sixty-year-old woman on the other side of the cutting table frowned apologetically, embarrassed perhaps that a piece of cloth that had survived for so long had been handled irresponsibly.

  “It still is,” I assured her. “The pattern is intact and I can envision what the color palette was like when it was first printed.”

  “Can you?” Her voice was hopeful. “I was worried that it was too old and too faded for anyone to match. I don’t even know where my great-grandmother got it.”

  “It’s French wool challis, late nineteenth century.” I turned the material over to study the reverse side. “Most likely printed with an aniline dye—coal-tar based, which is why the colors were originally so vibrant.”

  She laughed. “You can tell all that just by looking at it?”

  I smiled back at her. “Four years of textile school.”

  “I didn’t know there was a school for that. I guess there’s a school for everything.”

  I turned the fabric over to its right side. “I think I can find a match or something close to it.”

  “Oh, that’s wonderful. But it doesn’t have to be wool challis. I hear that’s pretty expensive. Rayon would be fine.”

  “I’ll do my best. May I hold on to this or would you like me to remove a swatch?”

  “You can keep it while you look. In the meantime, I’d like a few yards of these.”

  She pushed two bolts of Batavian batiks in autumn shades across the table.

  I pulled the bolts toward me and handed her an info form to fill out on the challis. “I’ll need your contact information so that I can e-mail you when I have some possible matches for you. And if you let me know your price range, that’s helpful, too.” I also handed her a pen.

  The customer took the form. “Wonderful.”

  I unfolded the first bolt of toasty gold fabric. “This is a beautiful print. Brand-new this season. How many yards?”

  But the woman was staring at the sheet of paper I’d given her. “‘Everything beautiful has a story it wants to tell,’” she said, reading aloud the store’s tagline at the top of the form. “I love that.”

  “It’s our motto here at the Heirloom Yard,” I said. “One of my professors in textile school taught me that.”

  The professor had actually said that every textile design is based on a cherished universal truth; I had prettied up his long-ago statement, on a long-ago day.

  “And how many yards would you like?” I repeated my question.

  “Oh! Two. No. Three yards, please. Of each.”

  I measured out the yardage and began to cut.

  “It’s so well said,” the woman continued. “Especially if you’re a quilter. And I just love the name of this fabric store. Did you come up with that, too?”

  I nodded toward my employer and best friend, Celine, whose silvery pixie haircut was visible among a kaleidoscope of Jinny Beyer prints as she waited on another customer in the middle of the store. “Celine over there came up with the name. This is her shop. And all the beautiful quilts on the walls are hers.”

  Celine looked back at us and winked a hello.

  I pushed the first bolt aside and reached for the other one, a chocolate brown cotton flecked with gold swirls.

  “Actually, make that one two and a half.” The woman sighed gently and visually took in the Heirloom Yard’s shelves and tables. “I am so glad I found your store, I can’t even tell you. When I knew we were moving to Manhattan, the first thing I did was mourn the loss of my favorite fabric store. I didn’t think there’d be one here to replace it. I guess I thought Manhattan would be too urban and refined for quilts.”

  Her comment made me laugh. I had come to the city years ago—a new bride, a new college graduate—with a few misconceptions of my own.

  “My daughter lives in Connecticut. She’s the one who told me to check on the Upper West Side,” the woman went on. “She had read in one of her magazines about how you specialize in reproduction fabric. It was a few years ago, but she keeps all her back issues. That’s how I found you.”

  That article, three years old, was still bringing in new business.

  I straightened the unfolded length of the second fabric and began to cut. “It’s my favorite thing to do, actually. Finding a match for an old fabric.”

  “And she’s brilliant at it,” Celine said, now from just a few feet away as she prepared to cut yardage at a second cutting table.

  “I think that’s so very interesting,” the woman said. “And you can always find a match?”

  My scissors paused for only a second. “Almost always.”

  “But sometimes you can’t?”

  Again the scissors lingered over the fabric for a breath of a second. “The older a textile is, the harder it is. If we can’t find it, then it might mean we’ll go to a designer. That can be expensive, but we can recommend some good ones.”

  “Most of the time you can find something, though? I mean, it’s not the end of the world if you can’t find that challis, but I sure hope you can.”

  The scissors snipped through the last of the cut. “Yes. Most of the time.”

  “You know,” the woman went on, oblivious to the tiny interlude, “I’m going to have to bring in my grandmother’s wedding dress. She was a mail-order bride during the expansion to the West and . . .”

  I listened with polite interest. In truth, I welcomed the swift transition into a conversation that didn’t remind me of the one fabric I’d been unable—for ten years—to match. Granted, I had no swatch, no photograph, nothing but the memory of the material to work with, and even that was hazy. It had been in my hands for less than one day. And, as Celine liked to remind me, that had been a day like no other. I should ease up on my expectations.

  How many antique swatch books had I thumbed through; how many Web sites and textile houses had I browsed looking for its match? The scarf had been an Indienne textile, French-made from an Indian design, and surely a hundred years old. The name Lily had been stitched in black near one edge, and the repeating pattern was a burst of marigolds.

  In nearly a decade I had fou
nd nothing close by way of a match.

  There had been a few scattered moments when a quick glance at a bolt or a photograph or a swatch seemed to grab hold and the very air around me shouted, “There it is!” and with a thumping heart I’d look again and be nearly relieved to realize I was mistaken. I wanted to find it and yet I didn’t.

  Everything beautiful has a story it wants to tell. But not every story is beautiful.

  The woman had finished her comments about her grandmother and I whisked away the lingering thoughts. I handed the pile of folded fabric to her and retrieved the form she had filled out. “Leslie up at the front counter will ring that up for you. Bring in your grandmother’s wedding dress anytime.” I glanced down at her form to see what her name was. “So nice to meet you, Mrs. Courtenay. I will be in touch with you about the challis.”

  “Oh, please call me Ruth.”

  “And I’m Taryn.”

  Ruth Courtenay began to make her way to the front of the store, bypassing other customers, nearly all women. Most of them had in their hands a quilt pattern book open to a dog-eared page, or bolts in their arms carried like babies as they looked for the perfect blend of contrast and complement.

  And though the long and narrow store was full of customers, it was library-quiet inside. Even the Pandora music station we had playing in the background was hushed by the blanketing effect of bolt after bolt of fabric. I liked the way the bolts cuddled the customer’s voices as if to wrap everyone in a soft embrace. The shrill sounds of traffic and commerce and sirens disappeared when you stepped inside the Heirloom Yard.

  My nine-year-old daughter, Kendal, often said it was too quiet, like being stuck inside someone’s sleepy dream. And since she and I lived in the cozy apartment upstairs, the quiet nature of the store was an ever-present reality that she wasn’t above complaining about every now and then. Fortunately, she didn’t seem to mind that there wasn’t much separating my work life from our home life.

  I loved where we lived—not in the way I loved my daughter, or textiles, or color. I loved the way the apartment made me feel when I retreated to it at the end of the day.