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Cushman, Karen. 1994.
Catherine, Called Birdy. New
York: Houghton Mifflin Harcourt. ISBN 9780547722184
PLOT SUMMARY
In the year 1290, Catherine, nicknamed Birdy, begins writing a diary as a means of avoiding her detested needlework. The fourteen-year-old only daughter of a minor aristocrat, Birdy documents the joys and challenges of her life in Medieval England. She admits her life would be tolerable if it were not for the sewing she is forced to perform and for the numerous suitors who come to her home seeking her hand in marriage because her father insists on finding a husband for her. After her father arranges a marriage for her to an older man whom she considers abhorrent, Birdy rebels against her father and her lack of voice and power due to her position in society. Like most teenagers, Birdy struggles to find the balance between her dreams for her life and reality, which means ultimately accepting her place in society while attempting to remain faithful to herself.
CRITICAL ANALYSIS
Catherine, Called Birdy is an entertaining example of historical fiction. Told through a first-person narrative in diary form, fourteen-year-old Catherine, nicknamed Birdy, is the protagonist of this story. The main antagonist in the story is Birdy’s father, who often beats her and insists on arranging a socially and financially advantageous marriage for her. Birdy’s brother Robert is an antagonist in this story because of the love/hate relationship she has with him. Morwenna, Birdy’s nurse, is an antagonist who is charged with keeping Birdy in line and out of trouble. Finally, although she has only met him once, the man whom she calls Shaggy Beard is also an antagonist because she is betrothed to him against her will.
With her first entry in her diary, Birdy begins the exposition of her tale as she writes:
A few days later, she shares more details about her family and reveals the setting of the story, stating:
The rising action begins when Birdy discovers that her father is planning on arranging a marriage for her. Birdy laments, “Now my father, the toad, conspires to sell me like a cheese to some lack-wit seeking a wife” (p. 5). Upon learning that her first suitor is coming to visit, she schemes, “Corpus bones! He comes to dine with us in two days’ time. I plan to cross my eyes and drool in my meat” (p. 5).
Since this story is told through her daily accounts, their brevity varies depending on Birdy’s mood and the current events in the story. The style of writing found in Birdy’s diary entries exposes her head strong and opinionated personality. Initially, the entries are often short and to the point, e.g.:
“7th Day of October
Her diary narratives also reveal her witty and dry sense of humor as she relates her uncanny knack for getting into trouble and the often-hilarious escapades she experiences as she dodges the would-be suitors in her life. When a prospective suitor came to call, Birdy endeavored to scare him away. She explains, “I rubbed my nose until it shone red, blacked out my front teeth with soot, and dressed my hair with mouse bones I found under the rushed in the hall” (p. 6). Another time, she set inadvertently sets fire to the privy when it was occupied by a Baron’s son.
Like the caged birds she keeps in her room, Birdy feels trapped because she is unable to choose her path in life revealing the theme of personal choice. Due to the constraints of her position in society, Birdy is obligated to fulfill her role as dutiful daughter and accept her father’s choice for an arranged marriage, revealing the themes of female roles, family, and individual versus society.
The central conflict of the story is Birdy’s refusal to accept an arranged marriage. Birdy shares, “If only I had become a monk or a crusader or a pilgrim or anything but a maid about to be sold like a herring” (p. 117). Furthermore, she vows, “By cock and pie, I swore, I will not be given in marriage against my will!” (p. 72). After her marriage has been arranged, the conflict escalates. Birdy writes,
As the rising action continues, her entries become more detailed and lengthy. More importantly, they become more thoughtful and eloquent as Birdy turns to her writing to give voice to her hopes and dreams, as well as to express her disappointments and upsets. For example, by September 21st of the following year, after Birdy has run away from home to escape her imminent marriage, she reflects:
The climax of the story occurs when Birdy learns that not only has Shaggy Beard been killed in a “brawl over a tavern maid” (p. 163), but his son, Stephen, has asked to honor the arranged marriage by marrying her instead. Birdy explains, “My lady mother and the beast my father think it no better and no worse that I marry Stephen instead of Shaggy Beard, but for me it is like moving from the darkness into the light…” (p. 163-164). In the story's resolution, Birdy finally accepts her arranged marriage when she acknowledges:
Including medieval slang words such as "Corpus bones" and "Deus" adds to the authentic feel of the dialogue. Similarly, Birdy's list of domestic chores such as picking maggots from the salt meat, cleaning the privy, and sprinkling herbs over the cleaned rushes adds authentic details to the story. Likewise, Birdy'st complains of her "lady-tasks, endless mindless sewing, hemming, brewing, doctoring, and counting linen" (p. 10) helps to add to the authentic tone of the story.
The authenticity of the story is also addressed in the Author’s Note (p. 165-169). First, Cushman provides a detailed explanation of the social structure of Medieval England in 1290. Cushman explains, “The difference begins with how people saw themselves. Everyone had a particular place in a community, be it a village, abbey, manor, family, or guild. Few people considered moving out of their place” (p.165). Additionally, “Our ideas of individual identity, individual accomplishments and rights, individual effort and success did not exist. Family and community and guild and country were what mattered. No one was separate and independent, even the king” (p.165).
In this respect, the author reveals that Birdy’s feelings and thoughts were opposed to those of her society since “Girls were mostly trained for marriage. Marriage among the noble classes was not a matter of love but of economics” (p. 167-168). Similarly, “Women were essentially property, used to further a family’s alliances, wealth, or status. Birdy fought years of training and traditions in opposing her marriage to Shaggy Beard. Most girls would have consented, knowing no alternative” (p. 168).
Cushman provides a list of several books geared towards young readers who are interested in learning more about Medieval England. There is also a suggested list of books containing first-hand accounts regarding life in the Middle Ages from Bartholomaeus Anglicus. Geoffrey Chaucer’s The Canterbury Tales list provided as another resource for interested readers. A list of narratives that take place in or near the Middle Ages is also offered. Finally, Cushman suggests that modern readers can relate to stories about medieval people because the characters also experience the universal qualities all humans share such as fear, joy, hunger, and love. In regard to the challenge of understanding medieval people well enough to portray them accurately in a story, Cushman believes, “we’ll have to imagine and pretend and make room in our hearts for all sorts of different people” (p. 168).
With her first entry in her diary, Birdy begins the exposition of her tale as she writes:
“12th Day of September
I am commanded to write an account
of my days: I am bit by fleas and plagued by family. That is all there is to
say” (p. 1).
A few days later, she shares more details about her family and reveals the setting of the story, stating:
“What follows will be my book-the
book of Catherine, called Little Bird or Birdy, daughter of Rollo and the lady
Aislinn, sister to Thomas, Edward, and the abominable Robert, of the village of
Stonebridge in the shire of Lincoln, in the country of England, in the hands of
God. Begun this 19th day of
September in the year of Our Lord 1290, the fourteenth year of my life…The
writing I learned of my brother Edward, but the words are my own.
Picked off twenty-nine fleas today”
(p. 2).
The rising action begins when Birdy discovers that her father is planning on arranging a marriage for her. Birdy laments, “Now my father, the toad, conspires to sell me like a cheese to some lack-wit seeking a wife” (p. 5). Upon learning that her first suitor is coming to visit, she schemes, “Corpus bones! He comes to dine with us in two days’ time. I plan to cross my eyes and drool in my meat” (p. 5).
Since this story is told through her daily accounts, their brevity varies depending on Birdy’s mood and the current events in the story. The style of writing found in Birdy’s diary entries exposes her head strong and opinionated personality. Initially, the entries are often short and to the point, e.g.:
“7th Day of October
Dreamed of the miller’s farting
apprentice. This morning I stomped the
cake into the rushes on the floor and threw the ring into the pig yard. I will never marry” (p. 15).
Like the caged birds she keeps in her room, Birdy feels trapped because she is unable to choose her path in life revealing the theme of personal choice. Due to the constraints of her position in society, Birdy is obligated to fulfill her role as dutiful daughter and accept her father’s choice for an arranged marriage, revealing the themes of female roles, family, and individual versus society.
The central conflict of the story is Birdy’s refusal to accept an arranged marriage. Birdy shares, “If only I had become a monk or a crusader or a pilgrim or anything but a maid about to be sold like a herring” (p. 117). Furthermore, she vows, “By cock and pie, I swore, I will not be given in marriage against my will!” (p. 72). After her marriage has been arranged, the conflict escalates. Birdy writes,
“Fought with the beast my father
over this joke of a marriage. I roared, he roared, I threw things, he stepped
on them, I pushed him, he shouted about stubbornness and pride which should
long ago have been broken and delivered several hard blows to my face” (p.
117).
As the rising action continues, her entries become more detailed and lengthy. More importantly, they become more thoughtful and eloquent as Birdy turns to her writing to give voice to her hopes and dreams, as well as to express her disappointments and upsets. For example, by September 21st of the following year, after Birdy has run away from home to escape her imminent marriage, she reflects:
“Suddenly I saw the old Jewish
woman saying, ‘Remember, Little Bird, in the world to come, you will not be
asked ‘Why were you not George?’ or ‘Why were you not Perkin?’ but ‘Why were you
not Catherine?’ And it came into my head
that I cannot run away. I am who I am
wherever I am.
Like the bear and my popinjay, I
cannot survive by myself. But I also
cannot survive if I am not myself. And who am I? I am no minstrel and no wart
charmer but me, Birdy, Catherine of Stonebridge, daughter of Lord Rollo and the
lady Aislinn, sister to Robert and Thomas and Edward and little Eleanor, friend
of Perkin, goat boy and scholar” (p. 162).
The climax of the story occurs when Birdy learns that not only has Shaggy Beard been killed in a “brawl over a tavern maid” (p. 163), but his son, Stephen, has asked to honor the arranged marriage by marrying her instead. Birdy explains, “My lady mother and the beast my father think it no better and no worse that I marry Stephen instead of Shaggy Beard, but for me it is like moving from the darkness into the light…” (p. 163-164). In the story's resolution, Birdy finally accepts her arranged marriage when she acknowledges:
“In any event, I am, if not free,
at least less painfully caged. I am
filled with a trebling that feels like feathers fluttering in my gut but I
think is hope. All I know of Stephen is
that he is young and clean, loves learning, and is not Shaggy Beard. For these alone I am prepared to love him”
(p. 164).
Including medieval slang words such as "Corpus bones" and "Deus" adds to the authentic feel of the dialogue. Similarly, Birdy's list of domestic chores such as picking maggots from the salt meat, cleaning the privy, and sprinkling herbs over the cleaned rushes adds authentic details to the story. Likewise, Birdy'st complains of her "lady-tasks, endless mindless sewing, hemming, brewing, doctoring, and counting linen" (p. 10) helps to add to the authentic tone of the story.
The authenticity of the story is also addressed in the Author’s Note (p. 165-169). First, Cushman provides a detailed explanation of the social structure of Medieval England in 1290. Cushman explains, “The difference begins with how people saw themselves. Everyone had a particular place in a community, be it a village, abbey, manor, family, or guild. Few people considered moving out of their place” (p.165). Additionally, “Our ideas of individual identity, individual accomplishments and rights, individual effort and success did not exist. Family and community and guild and country were what mattered. No one was separate and independent, even the king” (p.165).
In this respect, the author reveals that Birdy’s feelings and thoughts were opposed to those of her society since “Girls were mostly trained for marriage. Marriage among the noble classes was not a matter of love but of economics” (p. 167-168). Similarly, “Women were essentially property, used to further a family’s alliances, wealth, or status. Birdy fought years of training and traditions in opposing her marriage to Shaggy Beard. Most girls would have consented, knowing no alternative” (p. 168).
Cushman provides a list of several books geared towards young readers who are interested in learning more about Medieval England. There is also a suggested list of books containing first-hand accounts regarding life in the Middle Ages from Bartholomaeus Anglicus. Geoffrey Chaucer’s The Canterbury Tales list provided as another resource for interested readers. A list of narratives that take place in or near the Middle Ages is also offered. Finally, Cushman suggests that modern readers can relate to stories about medieval people because the characters also experience the universal qualities all humans share such as fear, joy, hunger, and love. In regard to the challenge of understanding medieval people well enough to portray them accurately in a story, Cushman believes, “we’ll have to imagine and pretend and make room in our hearts for all sorts of different people” (p. 168).
REVIEW EXCERPT(S)
A 1995 Newbery Honor Book
From School Library
Journal: “This unusual book provides an insider’s look at the life of
Birdy, 14, the daughter of a minor English nobleman. The year is 1290 and the
vehicle for storytelling is the girl’s witty, irreverent diary. . . . Superb
historical fiction.”
From Publisher’s
Weekly: “Birdy's journal, begun as an assignment, first wells up in the reluctant and aggressive prose of hated homework, and then eases into the lighthearted flow of descriptive adventures and true confessions; the narrative device reveals Birdy's passage from rebellious child to responsible adult.”
From Kirkus Reviews:
“The period has rarely been presented for young people with such authenticity;
the exotic details will intrigue readers while they relate more closely to
Birdy’s yen for independence and her sensibilities toward the downtrodden. Her
tenacity and ebullient naiveté are extraordinary; at once comic and
thought-provoking, this first novel is a delight.”
CONNECTIONS
Collect other Karen Cushman books to read such as:
- Alchemy and Meggy Swann. ISBN 9780547577128
- The Ballad of Lucy Whipple. ISBN 9780547722153
- Matilda Bone. ISBN 9780440418221
- The Midwife’s Apprentice. ISBN 9780547722177
Collect other historical fiction books to read such as:
- Avi. Crispin: The Cross of Lead. ISBN 9780786816583
- Kadohata, Cynthia. Kira-Kira. ISBN 9780689856402
- Larson, Kirby. Hattie Big Sky. IBSN 9780385735957
- Lowry, Lois. Number the Stars. ISBN 9780547577098
- Park, Linda Sue. A Single Shard. ISBN 9780547534268
Collect other historical fiction books about
- de Angeli, Marguerite. The Door in the Wall. ISBN 9780440227793
- Platt, Richard. Castle Diary: The Journal of Tobias Burgess. ISBN 9780763650940
- Schlitz, Laura Amy. Good Masters! Sweet Ladies!: Voices from a Medieval Village. ISBN 9780763650940
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