The Virgin Cure

The Virgin Cure

Hardcover | October 25, 2011

byAmi Mckay

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Following in the footsteps of The Birth House, her powerful debut novel, The Virgin Cure secures Ami McKay's place as one of our most beguiling storytellers. (Not that it has to… that is pretty much taken care of!)

"I am Moth, a girl from the lowest part of Chrystie Street, born to a slum-house mystic and the man who broke her heart." So begins The Virgin Cure, a novel set in the tenements of lower Manhattan in the year 1871. As a young child, Moth's father smiled, tipped his hat and walked away from his wife and daughter forever, and Moth has never stopped imagining that one day they may be reunited – despite knowing in her heart what he chose over them. Her hard mother is barely making a living with her fortune-telling, sometimes for well-heeled clients, yet Moth is all too aware of how she really pays the rent.

Life would be so much better, Moth knows, if fortune had gone the other way - if only she'd had the luxury of a good family and some station in life. The young Moth spends her days wandering the streets of her own and better neighbourhoods, imagining what days are like for the wealthy women whose grand yet forbidding gardens she slips through when no one's looking. Yet every night Moth must return to the disease- and grief-ridden tenements she calls home.

The summer Moth turns twelve, her mother puts a halt to her explorations by selling her boots to a local vendor, convinced that Moth was planning to run away. Wanting to make the most of her every asset, she also sells Moth to a wealthy woman as a servant, with no intention of ever seeing her again.

These betrayals lead Moth to the wild, murky world of the Bowery, filled with house-thieves, pickpockets, beggars, sideshow freaks and prostitutes, but also a locale frequented by New York's social elite. Their patronage supports the shadowy undersphere, where businesses can flourish if they truly understand the importance of wealth and social standing - and of keeping secrets. In that world Moth meets Miss Everett, the owner of a brothel simply known as an "infant school." There Moth finds the orderly solace she has always wanted, and begins to imagine herself embarking upon a new path.

Yet salvation does not come without its price: Miss Everett caters to gentlemen who pay dearly for companions who are "willing and clean," and the most desirable of them all are young virgins like Moth. That's not the worst of the situation, though. In a time and place where mysterious illnesses ravage those who haven't been cautious, no matter their social station, diseased men yearn for a "virgin cure" - thinking that deflowering a "fresh maid" can heal the incurable and tainted.

Through the friendship of Dr. Sadie, a female physician who works to help young women like her, Moth learns to question and observe the world around her. Moth's new friends are falling prey to fates both expected and forced upon them, yet she knows the law will not protect her, and that polite society ignores her. Still she dreams of answering to no one but herself. There's a high price for such independence, though, and no one knows that better than a girl from Chrystie Street.

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The Virgin Cure

Hardcover | October 25, 2011
In stock online Available in stores
$24.22 online $32.00 (save 24%)

From the Publisher

Following in the footsteps of The Birth House, her powerful debut novel, The Virgin Cure secures Ami McKay's place as one of our most beguiling storytellers. (Not that it has to… that is pretty much taken care of!)"I am Moth, a girl from the lowest part of Chrystie Street, born to a slum-house mystic and the man who broke her heart." S...

Ami McKay was born and raised in rural Indiana. After an undergraduate degree in music education and graduate studies in musicology at Indiana State University, she moved to Chicago to teach music at an inner city high school for the arts. In her off hours she would write, filling notebooks and journals with short stories and ideas for...

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Format:HardcoverDimensions:368 pages, 8.5 × 5.92 × 1.17 inPublished:October 25, 2011Publisher:Knopf CanadaLanguage:English

The following ISBNs are associated with this title:

ISBN - 10:0676979564

ISBN - 13:9780676979565

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Extra Content

Read from the Book

I am Moth, a girl from the lowest part of Chrystie Street, born to a slum-house mystic and the man who broke her heart. My father ran off when I was three years old. He emptied the rent money out of the biscuit tin and took my mother’s only piece of silver—a tarnished sugar bowl she’d found in the rubble of a Third Avenue fire. “Don’t go . . .” Mama would call out in her sleep, begging and pulling at the blanket we shared as if it were the sleeve of my father’s coat. Lying next to her, I’d wish for morning and the hours when she’d go back to hating him. At least then her bitterness would be awake enough to keep her alive. She never held my hand in hers or let me kiss her cheeks. If I asked to sit on her lap, she’d pout and push me away and say, “When you were a baby, I held you until I thought my arms would fall off. Oh, Child, that should be enough.” I didn’t mind. I loved her. I loved the way she’d tie her silk scarf around her head and then bring the ends of it to trail down her neck. I loved how she’d grin, baring her teeth all the way up to the top of her gums when she looked at herself in the mirror, how she’d toss her shawl around her shoulders and run her fingers through the black fringe of it before setting her fortuneteller’s sign in the window for the day. The sign had a pretty, long-fingered hand painted right in the middle, with lines and arrows and words criss-crossing the palm. The Ring of Solomon, The Girdle of Venus. Head, heart, fate, fortune, life. Those were the first words I ever read. It was my father who gave me my name. Mama said it came to him at a place called Pear Tree Corner—“whispered by a tree so old it knew all the secrets of New York.” The apothecary who owned the storefront there told my father that he could ask the tree any question he liked and if he listened hard enough it would answer. My father believed him. “Call the child Moth,” the twisted tree had said, its branches bending low, leaves brushing against my father’s ear. Mama had been there too, round-faced and waddling with me inside her belly, but she didn’t hear it. “It was the strangest, most curious thing,” my father told her. “Like when a pretty girl first tells you she loves you. I swear to God.” Mama said she’d rather call me Ada, after Miss Ada St. Clair, the wealthiest lady she’d ever met, but my father wouldn’t allow it. He didn’t care that Miss St. Clair had a diamond ring for every finger and two pug dogs grunting and panting at her feet. He was sure that going against what the tree had said would bring bad luck. After he left us, Mama tried calling me Ada anyway, but it was too late. I only ever answered to Moth. “Where’s my papa?” I would ask. “Why isn’t he here?” “Wouldn’t I like to know. Maybe you should go and talk to the tree.” “What if I get lost?” “Well, if you do, be sure not to cry about it. There’s wild hogs that run through the city at night, and they’d like nothing better than to eat a scared little girl like you.” My father had thought to put coal in the stove before he walked out the door. Mama held onto that last bit of his kindness until it drove her mad. “Who does such a thing if they don’t mean to come back?” she’d mutter to herself each time she lifted the grate to clean out the ashes. She knew exactly what had happened to him, but it was so common and cruel she didn’t want to believe it. Miss Katie Adams, over on Mott Street, had caught my father’s eye. She was sixteen, childless and mean, with nothing to hold her back. Mrs. Riordan, who lived in the rear tenement, told Mama she’d seen them carrying on together in the alley on more than one occasion. “You’re a liar!” Mama screamed at her, but Mrs. Riordan just shook her head and said, “I’ve nothing to gain from lies.” Standing in front of the girl’s house, Mama yelled up at the windows, “Katie Adams, you whore, give me my husband back!” When Miss Adams’ neighbours complained about all the noise Mama was making, my father came down to quiet her. He kissed her until she cried, but didn’t come home.  “He’s gone for good,” Mrs. Riordan told Mama. “Your man was a first-time man, and that’s just the kind of man who breaks a woman’s heart.” She meant he was only after the firsts of a girl—the first time she smiles at him, their first kiss, the first time he takes her to bed. There was nothing Mama could have done to keep him around. Her first times with him were gone. “God damn Katie Adams . . .” Mama would whisper under her breath whenever something went wrong. Hearing that girl’s name scared me more than when Mama said piss or shit or fuck right to my face. The day my father left was the day the newsboys called out in the streets, “Victory at Shiloh!” They shouted it from every corner as I stood on the stoop watching my father walk away. When he got to the curb, he tipped his hat to me and smiled. There was sugar trailing out of a hole in his pocket where he’d hidden Mama’s silver bowl. It was spilling to the ground at his feet. Some people have grand, important memories of the years when the war was on—like the moment a brother, or lover, or husband returned safe and sound, or the sight of President Lincoln’s funeral hearse being pulled up Broadway by all those beautiful black horses with plumes on their heads. “Victory at Shiloh!” and my father’s smile is all I’ve got. The rooms I shared with Mama were in the middle of a row of four-storey tenements called “the slaughter houses.” There were six of them altogether—three sitting side by side on the street with three more close behind on the back lots. If you lived there, there was every chance you’d die there too. People boiled to death in the summer and froze to death in the winter. They were killed by disease or starvation, by a neighbour’s anger, or by their own hand. Mothers went days without eating so they could afford food for their children. If there was any money left, they put ads in the Evening Star hoping to get their lost husbands back. My Dearest John, please come home. We are waiting for you. Searching for Mr. Forrest Lawlor.Last seen on the corner of Grand and Bowery.He is the father to four children,and a coppersmith by trade. Mr. Stephen Knapp, wounded in the war.I’ll welcome you home with open arms.Your loving wife, Elizabeth. They stood in the courtyards behind the buildings, pushing stones over the ribs of their washboards and sighing over the men they’d lost. Elbow to elbow they put their wash on the lines that stretched like cat’s cradles over that dark, narrow space. Our back court was especially unlucky, having only three sides instead of four. The main attractions were one leaky pump and the row of five privies that sat across from it. The walls and roof of the outhouses leaned on each other like drunken whores, all tipsy, weeping and foul. Only one of the stall doors would stay shut, while the other four dangled half off their hinges. The landlord’s man, Mr. Cowan, never bothered to fix them and he never bothered to take the trash away either, so all the things people didn’t have a use for anymore got piled up in the court. Rotten scraps, crippled footstools, broken bits of china, a thin, mewling cat with her hungry litter of kittens. The women gossiped and groused while waiting for their turn at the pump, hordes of flies and children crawling all around them. The smallest babes begged to get up to their mama’s teats while the older children made a game picking through boards and bricks, building bridges and stepping-stones over the streams of refuse that cut through the dirt. They’d spend all day that way as their mothers clanged doors open and shut on that little prison. Boys grew into guttersnipes, then pickpockets, then roughs. They roamed the streets living for rare, fist-sized chunks of coal from ash barrels or the sweet hiss of beans running from the burlap bags they wounded with their knives at Tompkins Market. They ran down ladies for handouts and swarmed gentlemen for watches and chains. Kid Yaller, Pie-Eater, Bag o’ Bones, Slobbery Tom, Four-Fingered Nick. Their names were made from body parts and scars, bragging rights and bad luck. Jack the Rake, Paper-Collar Jack, One-Lung Jack, Jack the Oyster, Crazy Jack. They cut their hair short and pinned the ragged ends of their sleeves to their shirts. They left nothing for the shopkeeper’s angry hand to grab hold of, nothing even a nit would desire. Girls sold matches and pins, then flowers and hot corn, and then themselves.

Bookclub Guide

1. Miss Everett could be seen as doing work that “saves” girls, whether from poverty or from working the streets, and she is an established member of New York society. What do you think of this argument, considering the few options for young girls like Moth?2. What makes Moth such a survivor? Is she better or worse off without her mother?3. The young Moth spends a lot of time fantasizing about the lives of the wealthy and how her life could have been different. Do Moth’s early experiences with the Wentworths dispel some of those fantasies, or shore them up?4. Moth’s mother tells Mrs. Wentworth that Moth’s name is “Miss Fenwick.” Later, Moth chooses to use the name “Ada” while she’s in the brothel. How do these and other names change the way Moth sees herself? How does calling herself “Ada” help her to cope?5. How does Ami McKay use mystery and hidden secrets in The Virgin Cure? For instance, consider the various characters who live secret lives, or the importance of fortune-telling, or the role of the old Stuyvesant pear tree in the lives of early immigrants.6. Most of the girls in Miss Everett’s house believe their lives can only improve if they win the continued affection of one of her rich clients. Dr. Sadie ensures that this doesn’t happen for Moth by taking her to visit Katherine Tully. Why do you think Miss Everett lets Moth go along with the doctor for the day?7. What sorts of sacrifices does Dr. Sadie have to make in her work and her life?8. Discuss the title of this novel and the different ways it relates to the story within its pages. Discuss the devastating myth of the “virgin cure” – not only how it took hold in the New York of this novel, but how it continues today in parts of our world.9. What character in this novel intrigues you the most, and why?10. Throughout the novel, McKay uses elements like Dr. Sadie’s diary, margin notes and newspaper ads to convey information, whether about her characters or more generally about the New York of the day. Talk about the effect these parts of the narrative had on your reading, and your experience of Moth’s world.11. Reread the Evening Star article that appears just before the novel’s epilogue – a report on the debut of the Circassian Beauty at Dink’s Museum. Compare the exotic story about her past with what really happened to Moth.12. At the end of the novel Moth lives in a home on Gramercy Park and seems to have reached her life-long goal – yet she’s only nineteen. What do you think the future holds for Moth?

Editorial Reviews

“Finely crafted and remarkably researched.... While set in the past, the book informs the modern dialogue on feminism, the sex trade, and choice.” —Stacey May Fowles, The Walrus “A worthy follow up to...The Birth House.... Character, setting, mood and plot are melded naturally to create a Dickensian world of deprivation and determination.” —Winnipeg Free Press “A powerful novel, rooted in the same elements that made The Birth House both critically lauded and a bestseller.... One of McKay’s gifts and skills as a writer is her ability to utterly immerse the reader in her fictional world.... A powerful, affecting novel.” —Robert J. Wiersema, National Post “Fans of McKay’s bestselling novel The Birth House are going to love The Virgin Cure.... McKay’s vivid prose can trigger in readers the taste of a hot bowl of oyster stew, the reek of Chrystie Street tenement houses and the sound of a taffeta skirt’s hem brushing the floor of a concert saloon.... It’s difficult not to swiftly turn the pages of The Virgin Cure.” —Maclean’s “A lovely novel, written in a style that is both clean and subtle. McKay’s voices are true; her characters sympathetic.... I’m certain readers will take to The Virgin Cure just as they did The Birth House.” —The Vancouver Sun“A powerful new voice in Canadian writing.” —Marjorie Anderson “McKay is clearly a talented writer with a subtle sense of story, one that readers will look forward to hearing from, again and again.” —The Gazette “McKay is such a wonderful storyteller with a strong sense of place and time.” —Library Journal