Setting
The Midwife's Apprentice is set during the late thirteenth century or the early fourteenth century. Although the specific timeframe isn't directly mentioned, it can be determined through contextual clues. The narrative references "Summer Is Acoming In," a Middle English poem recorded between 1240 and 1310, and Edward Longshanks, the first of eight English kings named Edward, who ruled from 1272 to 1307.
From the opening lines, the medieval English world vividly comes to life, not only as a backdrop where people struggle to survive but almost as a character itself: "When animal droppings and garbage and spoiled straw are piled up in a great heap, the rotting and moiling give forth heat. Usually no one gets close enough to notice because of the stench." This vivid depiction of the dung heap in the unnamed village, where much of the story unfolds, instantly highlights the profound closeness people of that era had with everything that came from and returned to the earth, at least from our modern perspective.
In ways nearly unimaginable today, everyone except the wealthiest lived in constant contact with the land. They had to embrace it as it embraced them. They cleared forests, removed rocks from steep hillsides, tilled the root-filled soil, sowed seeds, defended crops from marauding birds and foraging animals, and eventually harvested what remained. The land provided fallen fruit, nuts, wild herbs, and firewood. Cows and sheep grazed on whatever they could find, whether rich or sparse, as did pigs and hens. Everything they valued and despised, lived in, wore, drank, played with, and used as medicine came from the land they held on such uncertain terms from birth to death.
The four seasons, as vital as the land itself to the people of the 1300s, are depicted with the tangible presence of living characters in The Midwife's Apprentice. The story spans nearly two years, from winter to the summer following the next winter, illustrating how the relentless cycle of seasons dictated every human endeavor. The harsh grip of winter gives way to the tender green renewal of spring, which then blossoms into the golden splendor of high summer, eventually swept away by the robust winds of autumn. Activities like planting, harvesting, soapmaking, sheepshearing, and ciderbrewing occur as the changing seasons permit. Religious observances, festivals, and rituals mark the cyclical passage of time. Only one event defies the seasonal cycle: birth can happen anytime, making birthplaces—from opulent manor bedrooms to straw mounds in the fields—central to a tale of midwives, expectant mothers, and newborns struggling into the world.
During the Middle Ages, apart from sailors, fishermen, and marine traders, people's personal horizons were limited to the distances they could cover on foot or horseback. The Midwife's Tale focuses on a single rural village and the places reachable within a day's walk: peasant homes, the Manor House, the Abbey, the Saint Swithin's Day Fair at Gobnet-Under-Green, and the inn located at the crossroads.
Literary Qualities
The Midwife's Apprentice is an exceptional book for young adults, crafted with numerous subtle and skillful touches. There are no extravagant displays of literary techniques here, just the traditional storyteller's voice, expertly tuned for its target audience. Cushman's flexible prose excels in concise descriptions of emotions, individual characters, and the natural environment. To illustrate her skillful descriptions: consider Brat's desperate desires when she is a homeless outcast at the novel's start: " . . . but dearly would she have loved to eat a turnip without the mud of the field still on it or sleep in a barn fragrant with new hay and not the rank smell of pigs who fart when they eat...
(This entire section contains 469 words.)
Unlock this Study Guide Now
Start your 48-hour free trial and get ahead in class. Boost your grades with access to expert answers and top-tier study guides. Thousands of students are already mastering their assignments—don't miss out. Cancel anytime.
Already a member? Log in here.
too much." Regarding Magister Reese: "He was as long and skinny as a heron, with black eyes in a face that looked sad, kindly, hungry, and cold." On apples collected from the ground: ". . . unable to say whether she liked the crisp white-fleshed Cackagees, the small, sour Foxwhelps, or the mellow, sweet Rusticoats and Rubystripes, she tried a few more." As this last quote demonstrates, Cushman confidently uses archaic words and names to create the atmosphere, texture, and flavor of medieval England, yet she refrains from overusing obsolete terms just for the sake of it. She remains conscious of her readers' knowledge, ensuring she doesn't overwhelm them with excessive historical details. Cushman also skillfully avoids anachronisms, a common pitfall for historical novelists. The portrayals of Brat/Beetle/Alyce and Jane the Midwife are psychologically accurate for their era. Cushman maintains her narrative's authenticity by ensuring modern sensibilities do not intrude upon her characters' thoughts and actions.
The Midwife's Apprentice is filled with a variety of humor. The harshness of children's humor is captured when Brat is mockingly named Beetle by the boys, as she, like a dung beetle, burrows into piles of waste. The humor of incongruity is evident in the chapter where Beetle rescues a cat from a pond. A girl raised in a loving environment might use affectionate words and prayers for the seemingly drowned cat, but Beetle, who knows only hardship, can only curse for survival: '"Damn you, cat, breathe and live, you flea-bitten sod, or I'll kill you myself.'" Purr the cat serves as both a companion to Alyce and a source of subtle physical humor. When Magister Reese attempts to "teach" the cat the alphabet—actually intended for the silent Alyce—Purr reacts in a timeless and amusing feline manner. "The cat listened attentively, though at times he grew impatient with the lesson and began to nibble at the enticingly moving pen." Numerous other instances could be mentioned, but these examples effectively illustrate the scope of Cushman's humor. Another type of humor is found in the chapter where "the Devil" visits the village, which is explored further in the "Social Sensitivity" section.
For Further Reference
Cooper, Ilene. Review. Booklist (April 15, 1994). In her review of Catherine, Called Birdy, Cooper notes, "The diary format limits the development of other characters. Birdy's voice is the sole prominent one. Thankfully, it's an energetic voice, complete with its own unique exclamations like ("God's thumbs!"), which propels the story. Children can enjoy this book independently or as a companion to their studies of the Middle Ages."
Cushman, Karen. In Contemporary Authors, Vol. 155. Detroit: Gale, 1996: pp. 143-147. This interview with Cushman offers a comprehensive insight into her life and writing career.
Horn Book (July-August, 1994): 457-458. Review of Catherine, Called Birdy. The story follows Catherine, the daughter of a destitute knight, as she begins documenting her daily life in her fourteenth year. Her diary from the year 1290 provides an entertaining and detailed glimpse into both her thoughts and medieval life. Her rebellious spirit, inquisitive mind, and compassion for all creatures make her an engaging character in this captivating and insightful book.
Kirkus Reviews (March 15, 1994). Review of Catherine, Called Birdy. "The era has seldom been depicted with such authenticity for young audiences; the exotic details will captivate readers while they connect with Birdy's desire for independence and her empathy for the oppressed. Her persistence and lively innocence are remarkable; simultaneously humorous and thought-provoking, this debut novel is a joy."
Rochman, Hazel. Booklist (March 15, 1995). Review of The Midwife's Apprentice. Rochman comments that "Children will enjoy this concise, engaging story about a protagonist who learns she is neither ugly, nor foolish, nor alone."