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Curzon and Isabel’s kiss is interrupted by a knock at the door. John Laurens—a famed member of Washington’s cabinet—comes striding in, along with Bellingham, and announces that the French have joined the war. The following days are a blur of bustle and action, with clerks and generals flooding in and out of their home. One night, Curzon helps Bellingham into a tub, and while the washes, Curzon surreptitiously makes a wax mold of the key to Isabel’s collar.
At a parade to celebrate the inclusion of the French in the war, Curzon notes the Washingtons, both their love for one another, and the slaves they had with them at the party. He also notes how the American forces, now stronger and more precise following the winter at Valley Forge, fire a choreographed cannonade in celebration. To Curzon, they seem like a proper army. As his own company marches past, Curzon sees that they’ve left a space empty for him in the formation. They announce that there will always be a space for him there. Intending to flee along with the Army when it marches out of Valley Forge, Curzon and Isabel set themselves to the task of fashioning a key to her collar. They take two musketballs from a sleeping general and melt them down in a ladle.
At a gathering, Bellingham announces that Isabel has been sold to a colonel, and will be departing for Maryland in a week. Just then Lafayette arrives, and announces that he will be assuming command of a small force to attack the British. It dawns on Curzon that his time to flee has run out, and that he has to escape tonight. After everyone leaves, he checks the key and is horrified to discover it did not set properly.
Isabel pens two letters, one requesting Bellingham and the other gentlemen to come to headquarters, thus making their escape possible, and another explaining that Gideon is a former British spy. Bellingham believes the letter. Curzon and Isabel gather food and provisions for their escape. Just as they’re about to leave, Bellingham returns, pistol drawn. Curzon urges Isabel to flee, and seeing that there is no powder on Bellingham’s lips or clothes, realizes he has not loaded the pistol. The two fight, and just as Bellingham is about to stab Curzon, Isabel returns with a shovel and knocks Bellingham unconscious. They unlock her collar with Bellingham’s key and tie the man up in the stables.
The two catch up with the Army as they march out of the valley. Curzon feels the urge to look back to see if they’re being followed. Isabel does not. She keeps her eyes forwardas they march away with their friends.
As we come to the end of the story, we’re given a few last glimpses of the world Curzon and Isabel are hoping to escape. At the parade following the news of France’s inclusion in the war, Anderson is careful to include a demythologizing glimpse of American heroes George Washingtonand Laurens. We’re given numerous scenes with these figures referred to, and, in Laurens’ case, depicted. But here we see them accompanied by their slaves and manservants: “I knew the names of only a few of the slaves: Malvina, Lord Sterling’s cook, with her bright yellow turban; Shrewsberry, John Laurens’s valet, who had been back and forth to York all winter; and Hannah, Isaac, and Jenny, owned by the Washingtons. We nodded politely to one another and turned our attention to the army” (253).
It’s essential to remember that even figures we valorize, like Washington, were themselves owners of slaves. Laurens himself was an abolitionist, and had urged for the creation of a freed black battalion, and yet he is seen with a servant. Anderson shows us that the people we consider good or noble by historical standards were themselves complicit and stained by the pervasiveness of slavery, even as they fought for equality and liberty.
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By Laurie Halse Anderson