The Runaway Quilt

Book 4: The Elm Creek Quilts

by Jennifer Chiaverini

Genres: General Fiction; Historical Fiction; Women's Fiction

Synopsis

In this intriguing novel, master quilter Sylvia Compson comes across an heirloom quilt that muddles her heritage. She's always believed her ancestors were active in the Underground Railroad-but perhaps she's been mistaken.

Release date: March 25, 2003

Publisher: Simon & Schuster

Print pages: 336

Sample

Chapter One

When her sister, Claudia, died childless at the age of seventy-seven, Sylvia Bergstrom Compson became the last living descendant of Hans and Anneke Bergstrom and the sole heir to what remained of their fortune. Or so she had thought. She had certainly searched long and hard enough for someone else who could assume responsibility of Elm Creek Manor, for as difficult as it was to believe now, at the time she had thought the estate in rural central Pennsylvania too full of unhappy memories to become her home again. Her lawyer had told her she was the sole heir, an opinion corroborated by her private detective.

Now she wondered if they had overlooked something, a familial connection lost to memory but documented in a threadbare antique quilt.

She had never seen the quilt before; that much she knew to be true. She saw it for the first time after a speaking engagement for the Silver Lake Quilters' Guild in South Carolina. One woman had stayed behind to help Sylvia and her companion, Andrew Cooper, pack up Sylvia's lecture materials. As the three folded Sylvia's quilts and placed her slides carefully into boxes, the woman introduced herself as Margaret Alden and said that they had met before, for she was a former camper.

"Of course I remember you," Sylvia declared, but after a skeptical look from Andrew, she confessed otherwise. Margaret laughed and said she understood completely. So many quilters attended Elm Creek Quilt Camp each year that it was impossible to remember every one, although Sylvia felt that she ought to at least try. The campers were, after all, guests in her own home.

They chatted about quilt camp as they carried Sylvia's lecture materials to Andrew's motor home, but even after Sylvia thanked her for the help, Margaret lingered. "If you could spare me another few minutes," she said, "I'd like to show you a quilt. It's been in my family for generations, but I think it might have some connection to Elm Creek Manor."

"I beg your pardon?" said Sylvia. "What sort of connection?"

"That's what I hoped you might know."

Andrew and Sylvia were eager to begin the first leg of their long drive back to central Pennsylvania, but Sylvia rarely passed up the opportunity to see a quilt, and certainly couldn't resist seeing one so intriguingly described. Margaret hurried to her car and returned carrying a bundle wrapped in a cotton bedsheet. With Sylvia's assistance, she unfolded it to reveal a quilt -- or rather, what remained of one.

The pattern caught Sylvia's eye first: Birds in the Air blocks, each a square divided along the diagonal, a solid right triangle of medium or dark fabric on one side, three small right triangles surrounded by lighter background fabrics on the other. The blocks were arranged on point so that all the right angles of the triangles, large and small, pointed in the same direction. The fabrics themselves seemed to be primarily muslins and wools, so faded and worn that Sylvia could only guess their original colors. Water stains and deterioration suggested age as well as rough handling, as did the muted colors of the once bright dyes and the worn binding, through which the cotton batting was visible. Fine stipple quilting held the three layers together -- where they were still held together. Elsewhere, the thread had been removed or torn out by accident, and the middle batting layer it should have held in place was long gone.

Only a reluctance to appear hypocritical prevented Sylvia from scolding Margaret for risking further damage to the quilt by bringing it to the quilt guild meeting, for Sylvia was very glad to see it. "It's lovely, dear." She bent closer and peered through her bifocals at the quilting stitches. There was something unusual about them, something she couldn't yet place.

"Lovely?" Margaret laughed. "Most people look at it and say, "'Hmm. Interesting.'"

"You can tell Sylvia's a true quilter," said Andrew. "She never fails to see through the wear and tear and find the beauty."

"True beauty stands the test of time," said Sylvia, straightening. "Although I must say it's a pity its previous owners did not take better care of it."

"I know," said Margaret apologetically. "But my mother says it was just one of many quilts her grandmother had around the house. They didn't realize they were sleeping under a family heirloom."

"Of course not. I'm not faulting you or your ancestors. I'm not one of those who believes quilts should be showpieces kept safely away from anyone's bed." Sylvia returned her gaze to the quilt. "It's a simple pattern, pieced from scraps. It wasn't intended as the family's best quilt. I'd say by using it so well, your family was acting well within the quiltmaker's wishes."

Margaret smiled, pleased. Then Andrew caught Sylvia's eye, and she was suddenly aware of how her lecture had wearied her and how long they planned to drive before stopping for the night. She couldn't imagine what possible connection the quilt could have to Elm Creek Manor, unless Margaret hoped Sylvia would buy it and display it there. Briskly, she said, "Now, were you looking for an appraisal of the quilt or an estimate of its age? If so, I'm afraid I can't help you. I could place it in the mid- to late nineteenth century, but you'll need to consult a textiles expert for a more precise answer. As for what it's worth in terms of dollars and cents -- "

"Oh, I could never sell it," said Margaret, shocked.

"I'm pleased to hear that." Sylvia wished all families would show such appreciation for the heirloom quilts their foremothers had so lovingly made. "Then tell me, what did you mean by a connection between this quilt and my home?"

Margaret turned the quilt so that only the solid muslin backing was visible. "When you look at the quilting stitches, what do you see?"

Pursing her lips, Sylvia carefully scrutinized the quilt. Without the distraction of color and pattern, the stitches were more clearly visible. "The stippling pattern isn't consistent," she said. "Some of the stitches are long, others quite small, and the small ones seem to be grouped together."

Margaret's nod told Sylvia she had responded just as the younger woman had hoped. "When I told my mother I had attended quilt camp at Elm Creek Manor, she told me that she had an old family quilt her grandmother had called the Elm Creek Quilt."

Sylvia looked up in surprise. "Did she, indeed?"

"At first I thought its name came from the quilting pattern used in the border. See the elm leaf motif, and how these wavy lines look like running water?"

"I suppose." Sylvia saw the leaves now that they had been pointed out, but in her opinion, the wavy lines resembled a common cable pattern more than a creek.

"It had another name, too. The Runaway Quilt."

"Runaway?" Andrew chuckled. "I've heard of quilters getting carried away with their work, but I didn't know a quilt could actually run away."

"Perhaps the quilt turned out much larger than its maker had intended," said Sylvia. "Perhaps she felt it ran on and on, with a life of its own."

"Maybe, but my mother says it was most often called the Elm Creek Quilt," said Margaret hastily.

Sylvia nodded and exchanged an amused glance with Andrew. Margaret seemed most eager to prove her point, but she had said nothing yet to persuade Sylvia.

"Now look at these designs." Margaret pointed out groups of stitches that she said resembled, in turn, a tobacco leaf, a star, a mountain pass, a group of horses --

"And these," said Margaret, watching Sylvia expectantly, "form a picture of Elm Creek Manor."

Sylvia could no longer nod politely at the woman's wild imaginings. "I'm sorry, dear. I just don't see it."

"Remember the quilter was working from the other side," said Andrew, more mindful of Margaret's feelings than Sylvia had been. "The designs would be in reverse."

Sylvia carefully unfurled the quilt before the motor home's full-length mirror and studied one small section near the top. To her amazement, the reflection revealed a perfect outline of a pass between several low mountains.

She stared at the quilt, speechless. "My goodness," she finally managed. "I must admit, that bears a striking resemblance to the pass into the Elm Creek Valley." She held up another section. "This could indeed be the west wing of Elm Creek Manor."

"You told us at camp that the west wing predates the rest of your home," said Margaret.

"It would have been the only part standing at the time this quilt was made." Sylvia traced the design with a fingertip. "The original entrance is in the proper place."

"So it's a side view now," said Andrew. "But back then -- "

"This would have been the front view of the house." Sylvia shook her head, is if to clear it of nonsense. "I admit I'm tempted to believe there's some connection, but I'm afraid it's all a bit too fanciful for me. Many houses share a similar design, and elm trees and creeks are hardly exclusive to my family's estate..."

Her voice trailed off in disbelief.

Not far from the image of Elm Creek Manor appeared the outline of another building, one so unique and remarkable that there could be no mistaking it: a two-story barn, partially concealed by the slope of the hill into which it was built, exact in proportion and scale to the barn on the grounds of Sylvia's estate.

* * *

Andrew photographed the quilt, front and back, with close-ups of the quilted images, while Sylvia recorded Margaret's memories. Margaret surmised, based upon family stories, that her grandmother's grandmother had sewn the quilt, but the five years Margaret had spent researching her family's genealogy had turned up little information from that era, since many important documents had been destroyed during the Civil War. Then Margaret added, almost as an aside, "If my grandmother's grandmother didn't make the quilt, I suppose one of her slaves could have."

"Her slaves?" echoed Sylvia. "Goodness. Your family owned slaves?"

"Yes," said Margaret, "but you don't have to look at me like that. I never owned any."

"My apologies, dear. I didn't mean to be rude." Sylvia composed herself. Of course, she had probably met the descendants of slave owners before, just as she had certainly met the descendants of slaves. It was just unexpected to hear someone admit to one's ancestors' moral failings with such nonchalance, especially since Sylvia's family had treated their forebears with respect bordering on reverence.

"It seems to me, the person who made this quilt must have seen Elm Creek Manor," said Margaret.

"Could be she was recording memories of a visit," said Andrew.

"I suppose there's no way to know for certain." Sylvia gazed at the sections of the quilt where the thread had been removed. What patterns would they have found within those stitches?

"Sylvia," asked Margaret. "Did any of your ancestors leave the family estate and move South?"

"Do you mean to say you think our families might be related?"

"I think it's possible. I had hoped your family records would be more complete than mine."

"I suppose it's not entirely unlikely. My cousin Elizabeth left Elm Creek Manor when I was a young girl, but she and her husband went to California..."

"Anything else?" prompted Margaret. "Someone earlier?"

Sylvia searched her memory as best she could under the circumstances. Hans and Anneke Bergstrom had come to America in the middle of the nineteenth century, but Sylvia did not know the precise date. She knew they had had several children, but she could not recall how many had survived to adulthood. Surely some of them must have left to start families and households of their own, but if one of them was indeed Margaret's ancestor --

"I'm afraid I just don't know," said Sylvia, and lowered herself into a nearby seat.

Andrew must have seen how Margaret's questions had affected her, for he left her to her thoughts. He and Margaret exchanged addresses and phone numbers; then, with a promise to share whatever they discovered, Andrew showed her to the door. A few moments later, Sylvia heard him start the engine. Only then did she rouse herself and move to the front passenger seat beside him.

They drove in silence for nearly an hour before Sylvia spoke. "Do you suppose Margaret and I could have an ancestor in common?"

"It's possible." He kept his eyes on the road. "What do you think?"

"I think I was much more content before I learned I might have slave owners in the family."

"All families have members they're not so proud of."

"Yes, but slave owners?"

"Don't be too hard on them. They were people of their times."

"Plenty of other people of their times didn't own slaves. Hans and Anneke, for example. Elm Creek Manor was a station on the Underground Railroad, did you know that?"

He gave her a sidelong glance. "You might have mentioned it once or twice."

"If I've bragged, it's because I'm proud of them. I should be proud. That was brave and dangerous work. And now I'm supposed to accept that some of my relatives -- well, I don't accept it." She folded her arms and glared out the windshield at the lights of other cars speeding down the freeway. Night had fallen, but the sky was overcast. She wondered where the North Star was. It ought to be directly overhead, or nearly so. So long ago, it had shown the way to freedom, and her family had offered sanctuary to many of those who had braved the hazards of the path it illuminated.

But Elm Creek Manor was so secluded, the North Star alone would not have been enough to guide a stranger to its door.
rd

"Andrew," said Sylvia, "I don't believe the quilt preserved memories of Elm Creek Manor. I think it was meant to show the way."

She had heard of such things before, quilts with coded messages or even maps revealing safe pathways along the Underground Railroad. The very name of Margaret's quilt suggested it might be one of those legendary artifacts. But in all of Sylvia's decades as a quilter and lecturer, she had never seen one of these quilts, only heard lore of them around the quilt frame. Her friend Grace Daniels, a master quilter and museum curator, had once told her that not only had no one ever documented a map quilt from the era, no slave narrative or Abolitionist testimonial she had read mentioned one.

Sylvia respected Grace's expertise, and yet, in the stillness of her own heart, she yearned for the folklore to be true. Within her own family, a tale had been handed down through the generations about a quilt used to signal to fugitive slaves. Folklore carried a stronger ring of truth when one loved and trusted the person who spoke it.

But now, torn between her memories and the questions Margaret Alden's quilt raised, Sylvia would need more than folklore and family histories to discern the truth. She needed evidence only Elm Creek Manor could provide.

* * *

Andrew and Sylvia preferred to drive at a leisurely pace, so it wasn't until several days after the encounter with Margaret Alden that they pulled off the freeway and headed down the two-lane road past picturesque farms and rolling, forested hills toward home. Sylvia sighed with happiness when they turned onto a gravel road that wound its way through a familiar leafy wood. Before long, Elm Creek came into view, marking the southern border of the estate.

When the road forked, Andrew stayed to the left, following the road that led to the parking lot at the rear entrance of the manor. The right fork would have taken them over a narrow bridge and across a vast lawn up to the front entrance -- a more grand approach, especially for visitors, but impractical for Andrew's ocean liner on wheels. Before long the creek wound north and disappeared from sight, but the road continued west for a little way before turning north.

The wood gave way to a clearing. To the left was the orchard, where several women strolled among the apple trees. They waved as the motor home passed, and Sylvia waved merrily back. Ahead and to the right stood the two-story red barn built into the side of a hill. Sylvia's gaze locked on it.

"It's an accurate picture," said Andrew, meaning the pattern of stitches in Margaret's quilt. His words echoed Sylvia's own thoughts, but she merely nodded, unwilling to commit herself.

Just beyond the barn, the path crossed a low bridge over Elm Creek and widened into a driveway lined by tall elms. Then, at last, the manor itself came into view, its gray stone walls solid and welcoming. It was three stories tall -- not counting the attic -- and L-shaped, with black shutters and black woodwork along the eaves. Four stone stairs led to the back door, and as the motor home pulled into the parking lot, Sylvia watched as women bustled in and out.

"My goodness," said Sylvia. "It certainly is busy around here this morning. Isn't anyone in class?"

"You forget how many more campers you have these days," said Andrew.

"Only fifty each week."

"Yes, but your first year, you had only twelve. No wonder it looks like you have a crowd milling around."

f0 No wonder, indeed. What would her sister think if she could see how their family estate had been transformed? More than fifty years before, grief and anger had driven Sylvia away from her family home and into estrangement from her elder sister. Only after Claudia's death had Sylvia returned, intending to prepare the manor for sale rather than live there haunted by reminders of departed loved ones. She never imagined that hiring Sarah McClure as her assistant would force her to face all those old resentments and painful truths about her own mistakes. Elm Creek Quilts had been Sarah's vision and Sylvia's lifeline, for turning the estate into a retreat for quilters had made the halls ring with laughter and happiness as they had not for decades. Now Sylvia knew that, except for her occasional jaunts with Andrew, she would live out her days on the estate her ancestors had founded. She knew this was exactly as it should be, and her heart was full of gratitude for the friends who had made this second chance possible.

Eager for the company of these friends, Sylvia kissed Andrew on the cheek and hurried inside while he remained behind to look over the motor home. Sarah met her at the back door and greeted her with a hug. Sarah launched into a description of the week's events, but Sylvia's news would not wait. "Sarah, dear," she interrupted, "I have a special favor to ask of you. Would you join me in the attic, please?"

* * *

They began the search that afternoon.

Throughout the drive from South Carolina to Pennsylvania, Sylvia's thoughts had returned again and again to her great-aunt Lucinda's stories and the trunk she had described more than seventy years before. Somewhere among the dust and clutter of four generations there was a cherry hope chest with engraved brass fastenings, and in it -- if Lucinda's stories were true -- was a quilt Great-Grandmother Anneke had made.

Sylvia had always meant to find that quilt, but her long exile had made the search impossible, and upon her return, the improbability of finding it had been so daunting that she had put off the task. Even Grace Daniels's persistent requests to study the quilt had not been motivation enough. Now everything had changed. She did not know if Anneke's quilt could prove or disprove a connection between Margaret's quilt and Elm Creek Manor, but if it existed -- and Sylvia refused to believe it did not -- it might at least provide evidence that the manor had been a station on the Underground Railroad. Sylvia would be willing to acknowledge whatever other, more distant relations had done if she could first be certain her own direct ancestors had played a more noble role.

But after climbing the narrow, creaking staircase and surveying the attic, Sylvia knew that finding the trunk would be difficult, if not impossible, even with Sarah's help. The shorter, older west wing lay to her right, and the longer, newer south wing stretched out before her. Up here the seam joining old and new was more evident than below, the colors of the walls subtly different, the floor not quite even. Little visible evidence betrayed that fact, as the belongings of four generations of her family covered nearly every square foot of floor space.

"Four generations, and not one individual could be spared to tidy the attic," said Sylvia, her voice lost in the vast space. "Until me." Still, she was pleased her ancestors had left so much of themselves behind. She only hoped Great-Grandmother Anneke had not been the one exception to the family rule.

"We'll find it," said Sarah. She chose the nearest pile of stacked items and began. "But we'll save time if we leave tidying up for later."

Sylvia agreed and set herself to work. They could spare only a couple of hours before camp duties summoned them downstairs, but after the evening program, they resumed the search. Matt, Sarah's husband and the estate's caretaker, joined them, moving heavy loads Sylvia and Sarah had been unable to budge, but promising leads turned repeatedly into dead ends. By the time Sylvia went to bed that night, she had been begun to suspect that the search could take much longer than she had anticipated.

All week Sylvia and Sarah stole moments from their busy days to ransack cartons and uncover old furniture, all in vain. They found trunks, to be sure -- dozens of them, full of historic mementos, or so a cursory examination hinted, but Anneke's hope chest eluded them. Sylvia had never been a particularly patient woman, but each day's frustrations only made her more determined to keep looking.

It didn't do her temper any good that Sarah squandered valuable time digging through trunks that didn't meet the description, marveling over an antique toy or portrait, uncovering the hidden treasures Sylvia, too, was tempted to study. Nor did the tenacious July heat, or the dust they stirred up as they worked, or Sarah's shrieks at the discovery of yet another spider.

On one particularly humid Friday afternoon, Sarah dared to voice the same question that had been nagging Sylvia. "Are you sure the trunk is even up here?"

Sylvia refused to hear her discouragement. "If you want to quit, go ahead."

"It's not that -- "

"No, go on. I'm sure you have more important things to do than help me."

Without a word, Sarah left, rebuking Sylvia with her silence. Sylvia continued on alone, ashamed but too proud to go downstairs and apologize for her short temper.

Sensing progress in the increasing age of the artifacts she uncovered, for another hour she resisted thirst and fatigue until she was forced to admit that even her strong will was no match for the stifling conditions. She decided to return after the campers' evening program, when nightfall would bring restful quiet and cool breezes to Elm Creek Manor.

She left the attic assuring herself she would find the trunk that night or some day soon thereafter, but darkness seemed to foster doubt. Perhaps her memory had failed her, or Great-Aunt Lucinda's had failed her. Or maybe Lucinda's tale had been nothing more than a fiction meant to amuse a young girl. Of all the possibilities, that was the one Sylvia dreaded most. She couldn't bear it if the stories of Elm Creek Manor that had sustained her throughout her long absence turned out to be false. At one time, they were all she had had to remind her of home and the family she had left behind.

She picked up the search where she had left off earlier that day and soon forgot her exhaustion and the late hour. Only a small portion of the attic remained to be searched, a far corner of the west wing where the ceiling sloped so low Sylvia could not stand upright. Her grandparents might have used the chair that now sat covered in dust before her; some unknown aunt or cousin might have sewn a wedding gown on the treadle sewing machine now rusted and missing its belt. Melancholy colored her thoughts, and she forced herself to admit that even if Lucinda's story was true, the chest with its contents might have been lost to the fire that had destroyed part of the manor in her father's youth, or sold off like so many other heirlooms when the family's fortunes waned. So many misfortunes could have befallen it --

But perhaps none had after all, she thought, as she glimpsed beneath a film of dust a trunk made from cherry and brass.

She braced herself for the resistance of weight, but the trunk was surprisingly light. Quickly she pulled it into the open and brushed off as much dust as she could, for if a quilt was inside, she would not wish to soil it. Then she seated herself on the floor and studied it, reaching into her pocket for the slender key Great-Aunt Lucinda had given her decades before. Sylvia had saved the key more in remembrance of her great-aunt than from any certain plan to find the lock it fit, but now she knew there was only one way to discover if Great-Aunt Lucinda's stories were true.

After a moment's hesitation, Sylvia fit the key into the lock.

It turned easily, but the lid was more reluctant to cooperate, and only after several minutes of wrangling did it open with a groan. Sylvia scarcely noticed the odors of stale air and aged cloth, for within the trunk she spied a folded bundle wrapped in a sheet of unbleached muslin. Carefully she picked it up, and knew at once from its texture and thickness that it was a quilt.

Her breath caught in her throat. The protective sheet bore signs of age and decay. She never should have neglected the trunk so long. If she had come sooner she could have stored the quilt properly. She could blame only herself for a good half-century of its deterioration.

Praying that the quilt itself was in better condition than the muslin cover, she gently unwrapped it and unfolded it upon her lap.

And there it was, the Log Cabin quilt she half-feared existed only in Lucinda's imagination.

The blocks looked to be about seven inches square, arranged in fourteen rows of ten blocks each. Sylvia's first glance took in shirting flannels and chintzes, calicoes and velvets -- the scraps of worn clothing, no doubt. The scraps had been cut in rectangles of various sizes and pieced in an interlocking fashion around a central square, light fabrics placed on one side of a diagonal, dark fabrics on the other. The blocks were arranged in a Barn Raising setting so that the overall pattern was one of concentric diamonds, alternately light and dark, just as Lucinda's description had foretold. And to Sylvia's amazement and gratitude, the central squares of each Log Cabin block were black.

Sylvia stroked the quilt reverently, hardly daring to believe what she held in her arms. According to tradition, the central square in a Log Cabin quilt should be red, to symbolize the hearth, or yellow, to represent a light in the window. According to folklore, however, in the antebellum United States, a Log Cabin quilt with a black center square was a signal to slaves escaping north along the Underground Railroad, a sign indicating sanctuary. As a child Sylvia had listened eagerly to Lucinda's story of how Great-Grandmother Anneke Bergstrom's Log Cabin quilt with the black center squares had welcomed fugitive slaves into the safe haven of Elm Creek Manor. This quilt provided the evidence she needed to document this important part of her family history.

"Not quite," said Sylvia aloud, pursing her lips and scrutinizing the quilt. For all she knew, this quilt had been completed decades after the Civil War. Lucinda had always had an odd sense of humor. She could have pieced the quilt herself and left it in the attic for the young Sylvia to find, never imagining Sylvia wouldn't discover it until Lucinda was beyond explaining the joke. The fabrics resembled those Sylvia had seen in other quilts of that period, but until a knowledgeable appraiser inspected the quilt, she had no more proof than before she opened the trunk.

She folded the quilt with care and, setting it aside, was about to return the muslin sheet to the trunk when she saw that the Log Cabin quilt had concealed two other muslin-cloaked bundles, one considerably smaller than the Log Cabin quilt, the other approximately the same size.

Sylvia immediately took up the smaller bundle, hardly daring to hope that she would find more quilts sewn by her great-grandmother Anneke's hands. In a moment the muslin sheet was on the floor beside her, revealing the age-weathered back of a second quilt. "Such an embarrassment of riches," said Sylvia as she turned it over. Then, as the pattern appeared, she sat back against a stack of cartons, stunned.

"Birds in the Air," she murmured. It was impossible, but she couldn't deny the evidence she held in her own hands. The quilt that lay before her used the exact same block pattern as Margaret Alden's quilt. Only the arrangement of the individual blocks on the quilt top differed; whereas the blocks in Margaret's quilt were placed on the diagonal, this quilt used a straight setting, with the squares arranged in neat horizontal rows. This quilt was much smaller than Margaret's, too, and although it certainly looked antique, with the wear and tear of hard use and lye soap all too evident, it was in far better condition. Still, Sylvia could not dismiss the use of the Birds in the Air pattern as mere