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The Trial of Callista Blake

Chapter 38: Transcriber's note:
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About This Book

A courtroom drama centers on a woman charged in the suspicious death of another, and follows the judge, attorneys, press, and public as the trial unfolds. The narrative alternates procedural courtroom scenes with the judge's private reflections on law, authority, and ethical uncertainty. Key evidence includes intimate letters between the accused and the victim's lover, which complicate interpretations and fuel media sensationalism. Reportage and rumor amplify the defendant's physical difference into spectacle, challenging impartiality. Defense and prosecution pursue opposing strategies around doubt, character, and motive, while the book examines how legal process both reveals and obscures human truth.

THE TRIAL OF
CALLISTA BLAKE

EDGAR PANGBORN

In 1959, in the state of New Essex, a witch was on trial. Or so she seemed to many of the jurors who would ultimately decide her fate, and to the people who thronged the crowded courtroom, many of them friends of the murdered woman. On trial for poisoning her former lover's wife, she would—if found guilty—be executed.

Callista Blake is nineteen years old at the time of her trial. She has a very slight physical deformity, and the much greater mental ones of apparent aloofness, fierce independence of mind, a laconic and sometimes sarcastic wit, marked but unconventional artistic talent, avowed atheism, and a complete inability to compromise. Added to all this, although she is not beautiful by any of the usual criteria, men find her overwhelmingly attractive. No wonder the good people of Winchester and Shanesville dislike her, fear her, and, subconsciously, at least, think she is a witch. No wonder they do not believe Callista's story that she had mixed the deadly potion of Monkshood and brandy for herself at a moment of suicidal depression, and had been prevented by a miscarriage from saving Nancy Doherty, who had drunk the stuff accidentally. The circumstantial evidence against Callista could not be more damning, yet there are one or two people unshakeably convinced of her innocence.

This is the story of their struggle in the courtroom to save her. On her side are one witness—Edith Nolan, her friend and former employer—her defending counsel—Cecil Warner, a sick, aging man who loves her—and Terence Mann, who in his role as judge is obliged to attempt impartiality but, trying his first case carrying the death penalty, is appalled that the fate of a human being can be at the mercy of anything so haphazard as the adversary system and the whim of a jury. We see Callista's ordeal and the events that brought her to it from the viewpoints of all these people, as well as that of Callista herself. We see T. J. Hunter, the formidable District Attorney (they call him hunter Hunter), Jim Doherty, only too willing to accept his confessor's view that he was an innocent ensnared by a temptress of whom he is now happily free, Callista's well-meaning stepfather, hopelessly dominated by her overbearing, histrionic mother, the perfect Gertrude to Callista's Hamlet, and many others who indirectly hold Callista's life in their hands. We gradually learn the history of Callista's passionate affair with Jim, told with a compassion and insight which contrast poignantly with the chilling ritual of the courtroom.

Edgar Pangborn knows and understands the people he writes about. And with irresistible force he shows that no one is good enough or wise enough to hold the power of life and death.

Mr. Pangborn, who lives at Vorheesville, New York, attended Harvard and the New England Conservatory of Music. He is the author of three previous novels: West of the Sun, (1952), A Mirror for Observers (1953), and Wilderness of Spring (1958). He has also contributed short stories to various magazines.


Jacket design by Paul Bacon


ST MARTIN'S PRESS


Transcriber's note:

In general every effort has been made to replicate the original text as faithfully as possible, including some instances of non-standard spelling and punctuation (for example, ellipses spacing and size). Hyphenation has been standardized. The transcriber notes that one of the main characters, "Ann Doherty," is anomalously referred to as "Nancy" once on p. 43, and again in the jacket flap notes; this has not been altered. Another main character is often referred to by his initials, "T. J."; on p. 79 and beyond this becomes "T.J."; this has also not been altered. The original book did not have page numbers on chapter heading pages; this has been emulated in the html version.

The following changes were made to repair apparently typographical errors:

copyright statement below title page "for permisison to use a" permisison changed to permission
p. 28 "then, eatingly loudly and cheerfully" eatingly changed to eating
p. 68 "There she goes snifflling" snifflling changed to sniffling
p. 94 "Walton Road betwen 9:10" betwen changed to between
p. 111 "my own langugage far simpler" langugage changed to language
p. 121 "solitary as as any other" as as changed to as
p. 121 "instance: What do do?" first do changed to to
p. 122 "Adante does not mean Adagio" Adante changed to Andante
p. 206 "I'll be such an actesss" actesss changed to actress
p. 228 "doddle-pad rather angrily crossed" doddle changed to doodle
p. 246 "a fairly advanced science notice" notice changed to noticed
p. 275 "and then--"to keep you and me" --"to changed to --'to
jacket flap text "her defending council" council changed to counsel