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In Freedom Crossing, the distant howl of bloodhounds symbolizes the Fugitive Act of 1850, which was given the nickname “The Bloodhound Bill” by abolitionists of the time. This act, which required all caught fugitives to be returned to their owners, is the primary obstacle in the book. Margaret Goff Clark’s repeated use of the sound imagery of the howling dogs gives the book a tone of dread and reminds the reader that the slave catchers, like the sound of the dogs, are a pervasive and unpredictable threat.
The dogs make an appearance on the first page of the book, as Laura lies awake in bed, unable to get back to sleep. As she listens to the sounds of the night outside her window, “A moment later [comes] the mournful howling of a pack of dogs” (1). The sound frightens her, and she wishes that she still had her childhood dog, Prince, to protect her.
Later, Martin startles at the sound of the hounds. When Laura asks how they can be tracking him, Martin replies, “I guess after my master hired a slave catcher, he gave him an old shoe of mine or something. He’s a powerful determined man” (46). Just like the hounds themselves, Martin’s master and the slave catcher refuse to give up the chase until they’ve caught Martin.
The story of Laura’s empathy for the rabbit in a trap all those years ago foreshadows, or hints at, the eventual empathy she feels for Martin. Before Laura moved to Virginia, she and Joel were playing one day near the chicken coop when Laura noticed a baby rabbit caught in a trap. It was crying and clearly hurt. Joel told Laura to leave and that he’d take care of it. Soon, the crying stopped, and Laura thinks the rabbit might be okay. It is only after Joel reemerges from the chicken coop that she learns he had to kill the baby rabbit. The animal was too badly wounded to recover.
Upon learning he killed the rabbit, Laura is furious. Joel tells her the trap was meant for a fox, not the rabbit, and Laura replies, “You shouldn’t trap anything! Traps hurt too much!” (8). Laura, though, has grown up believing slavery is okay, even going so far as to agree with her aunt and uncle that enslaved people are property. However, once she gets to know Martin, she realizes she was wrong all along. When she bravely brings Martin to the river, Joel reminds her of the rabbit in the trap, and says “You couldn’t bear to see Martin get caught, could you?” (142). Deep down, Laura still had a heart for justice, and couldn’t stand to see innocent people such as Martin suffer.
Laura’s apparel and manners, and their relationship to femininity, are motifs used throughout the novel to elevate Laura’s character arc. At the beginning of the book, she is nervous for Joel to see her in her bed clothes and prefers to be seen “wearing a starched blue housedress and her hair, smoothly brushed [is] pulled back and tied with a blue ribbon” (37). In Virginia, her aunt and uncle taught her to be a proper lady, which to them means letting other people take care of her while she focuses on music and sewing lessons.
As a child she had been more independent, roaming through the woods with Joel and gathering nuts and berries. At the time, “Her mother had called her a tomboy, but her father had said, ‘Let her go. She’s healthier than those pasty-faced little girls who never poke their noses out of doors’” (7). Throughout the book, Laura finds ways to break out of the confines of traditional femininity. When she puts on some of Bert’s old clothes to take Martin to Tryon’s Folly, her “first thought [is] how easy it [is] to run without skirts. Boys [are] certainly lucky” (131). When she encounters Joel at the house, she no longer cares that he sees her out of her fancy dresses and with her hair up. Finally finding herself again, she regains her independence and sense of adventure.
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