The Space Between: An Outlander Novella

Part of Outlander

Best Seller
$3.99 US
Bantam Dell | Dell
On sale Apr 15, 2014 | 9780553392111
Sales rights: US, Opn Mkt (no CAN)
NEW YORK TIMES BESTSELLER • Diana Gabaldon returns to her Outlander universe in “The Space Between,” an irresistible novella brimming with adventure, history, and suspense.

Joan MacKimmie is on her way to Paris to take up her vocation as a nun. Yet her decision is less a matter of faith than fear, for Joan is plagued by mysterious voices that speak of the future, and by visions that mark those about to die. The sanctuary of the nunnery promises respite from these unwanted visitations . . . or so she prays. Her chaperone is Michael Murray, a young widower who, though he still mourns the death of his wife, finds himself powerfully drawn to his charge. But when the time-traveling Comte St. Germain learns of Joan’s presence in Paris, and of her link to Claire Fraser—La Dame Blanche—Murray is drawn into a battle whose stakes are not merely the life but the very soul of the Scotswoman who, without even trying, has won his heart.
 
Praise for Diana Gabaldon’s Outlander series

“A grand adventure written on a canvas that probes the heart, weighs the soul and measures the human spirit across [centuries].”—CNN, on The Fiery Cross

“History comes deliciously alive on the page.”—New York Daily News, on Outlander
 
“Abounds with Gabaldon’s sexy combination of humor, wild adventure and, underlying it all, the redemptive power of true love.”The Dallas Morning News, on The Fiery Cross

“Gabaldon is a born storyteller. . . . The pages practically turn themselves.”—The Arizona Republic, on Dragonfly in Amber

“Wonderful . . . This is escapist historical fiction at its best.”San Antonio Express-News, on Drums of Autumn
Paris, March 1778

He still didn't know why the frog hadn’t killed him. Paul Rakoczy, Comte St. Germain, picked up the vial, pulled the cork, and sniffed cautiously, for the third time, but then recorked it, still dissatisfied. Maybe. Maybe not. The scent of the dark-gray powder in the vial held the ghost of something familiar—but it had been thirty years.

He sat for a moment, frowning at the array of jars, bottles, flasks, and pelicans on his workbench. It was late afternoon, and the early spring sun of Paris was like honey, warm and sticky on his face, but glowing in the rounded globes of glass, throwing pools of red and brown and green on the wood from the liquids contained therein. The only discordant note in this peaceful symphony of light was the body of a large rat, lying on its back in the middle of the workbench, a pocket watch open beside it.

The comte put two fingers delicately on the rat’s chest and waited patiently. It didn’t take so long this time; he was used to the coldness as his mind felt its way into the body. Nothing. No hint of light in his mind’s eye, no warm red of a pulsing heart. He glanced at the watch: half an hour.

He took his fingers away, shaking his head.

“Mélisande, you evil bitch,” he murmured, not without affection. “You didn’t think I’d try anything you sent me on myself, did you?”

Still . . . he himself had stayed dead a great while longer than half an hour when the frog had given him the dragon’s blood. It had been early evening when he went into Louis’s Star Chamber thirty years before, heart beating with excitement at the coming confrontation—a duel of wizards, with a king’s favor as the stakes—and one he’d thought he’d win. He remembered the purity of the sky, the beauty of the stars just visible, Venus bright on the horizon, and the joy of it in his blood. Everything always had a greater intensity when you knew life could cease within the next few minutes.

And an hour later he thought his life had ceased, the cup falling from his numbed hand, the coldness rushing through his limbs with amazing speed, freezing the words “I’ve lost,” an icy core of disbelief in the center of his mind. He hadn’t been looking at the frog; the last thing he had seen through darkening eyes was the woman—La Dame Blanche—her face over the cup she’d given him appalled and white as bone. But what he recalled, and recalled again now, with the same sense of astonishment and avidity, was the great flare of blue, intense as the color of the evening sky beyond Venus, that had burst from her head and shoulders as he died.

He didn’t recall any feeling of regret or fear, just astonishment. This was nothing, however, to the astonishment he’d felt when he regained his senses, naked on a stone slab in a revolting subterranean chamber next to a drowned corpse. Luckily, there had been no one alive in that disgusting grotto, and he had made his way—reeling and half blind, clothed in the drowned man’s wet and stinking shirt—out into a dawn more beautiful than any twilight could ever be. So—ten to twelve hours from the moment of apparent death to revival.

He glanced at the rat, then put out a finger and lifted one of the small, neat paws. Nearly twelve hours. Limp; the rigor had already passed. It was warm up here at the top of the house. Then he turned to the counter that ran along the far wall of the laboratory, where a line of rats lay, possibly insensible, probably dead. He walked slowly along the line, prodding each body. Limp, limp, stiff.

Stiff. Stiff. All dead, without doubt. Each had had a smaller dose than the last, but all had died—though he couldn’t yet be positive about the latest. Wait a bit more, then, to be sure.

He needed to know. Because the Court of Miracles was talking. And they said the frog was back.
Praise for Diana Gabaldon’s Outlander series
 
“A grand adventure written on a canvas that probes the heart, weighs the soul and measures the human spirit across [centuries].”—CNN, on The Fiery Cross
 
“History comes deliciously alive on the page.”—New York Daily News, on Outlander
 
“Abounds with Gabaldon’s sexy combination of humor, wild adventure and, underlying it all, the redemptive power of true love.”The Dallas Morning News, on The Fiery Cross
 
“Gabaldon is a born storyteller. . . . The pages practically turn themselves.”—The Arizona Republic, on Dragonfly in Amber
 
“Wonderful . . . This is escapist historical fiction at its best.”San Antonio Express-News, on Drums of Autumn

About

NEW YORK TIMES BESTSELLER • Diana Gabaldon returns to her Outlander universe in “The Space Between,” an irresistible novella brimming with adventure, history, and suspense.

Joan MacKimmie is on her way to Paris to take up her vocation as a nun. Yet her decision is less a matter of faith than fear, for Joan is plagued by mysterious voices that speak of the future, and by visions that mark those about to die. The sanctuary of the nunnery promises respite from these unwanted visitations . . . or so she prays. Her chaperone is Michael Murray, a young widower who, though he still mourns the death of his wife, finds himself powerfully drawn to his charge. But when the time-traveling Comte St. Germain learns of Joan’s presence in Paris, and of her link to Claire Fraser—La Dame Blanche—Murray is drawn into a battle whose stakes are not merely the life but the very soul of the Scotswoman who, without even trying, has won his heart.
 
Praise for Diana Gabaldon’s Outlander series

“A grand adventure written on a canvas that probes the heart, weighs the soul and measures the human spirit across [centuries].”—CNN, on The Fiery Cross

“History comes deliciously alive on the page.”—New York Daily News, on Outlander
 
“Abounds with Gabaldon’s sexy combination of humor, wild adventure and, underlying it all, the redemptive power of true love.”The Dallas Morning News, on The Fiery Cross

“Gabaldon is a born storyteller. . . . The pages practically turn themselves.”—The Arizona Republic, on Dragonfly in Amber

“Wonderful . . . This is escapist historical fiction at its best.”San Antonio Express-News, on Drums of Autumn

Excerpt

Paris, March 1778

He still didn't know why the frog hadn’t killed him. Paul Rakoczy, Comte St. Germain, picked up the vial, pulled the cork, and sniffed cautiously, for the third time, but then recorked it, still dissatisfied. Maybe. Maybe not. The scent of the dark-gray powder in the vial held the ghost of something familiar—but it had been thirty years.

He sat for a moment, frowning at the array of jars, bottles, flasks, and pelicans on his workbench. It was late afternoon, and the early spring sun of Paris was like honey, warm and sticky on his face, but glowing in the rounded globes of glass, throwing pools of red and brown and green on the wood from the liquids contained therein. The only discordant note in this peaceful symphony of light was the body of a large rat, lying on its back in the middle of the workbench, a pocket watch open beside it.

The comte put two fingers delicately on the rat’s chest and waited patiently. It didn’t take so long this time; he was used to the coldness as his mind felt its way into the body. Nothing. No hint of light in his mind’s eye, no warm red of a pulsing heart. He glanced at the watch: half an hour.

He took his fingers away, shaking his head.

“Mélisande, you evil bitch,” he murmured, not without affection. “You didn’t think I’d try anything you sent me on myself, did you?”

Still . . . he himself had stayed dead a great while longer than half an hour when the frog had given him the dragon’s blood. It had been early evening when he went into Louis’s Star Chamber thirty years before, heart beating with excitement at the coming confrontation—a duel of wizards, with a king’s favor as the stakes—and one he’d thought he’d win. He remembered the purity of the sky, the beauty of the stars just visible, Venus bright on the horizon, and the joy of it in his blood. Everything always had a greater intensity when you knew life could cease within the next few minutes.

And an hour later he thought his life had ceased, the cup falling from his numbed hand, the coldness rushing through his limbs with amazing speed, freezing the words “I’ve lost,” an icy core of disbelief in the center of his mind. He hadn’t been looking at the frog; the last thing he had seen through darkening eyes was the woman—La Dame Blanche—her face over the cup she’d given him appalled and white as bone. But what he recalled, and recalled again now, with the same sense of astonishment and avidity, was the great flare of blue, intense as the color of the evening sky beyond Venus, that had burst from her head and shoulders as he died.

He didn’t recall any feeling of regret or fear, just astonishment. This was nothing, however, to the astonishment he’d felt when he regained his senses, naked on a stone slab in a revolting subterranean chamber next to a drowned corpse. Luckily, there had been no one alive in that disgusting grotto, and he had made his way—reeling and half blind, clothed in the drowned man’s wet and stinking shirt—out into a dawn more beautiful than any twilight could ever be. So—ten to twelve hours from the moment of apparent death to revival.

He glanced at the rat, then put out a finger and lifted one of the small, neat paws. Nearly twelve hours. Limp; the rigor had already passed. It was warm up here at the top of the house. Then he turned to the counter that ran along the far wall of the laboratory, where a line of rats lay, possibly insensible, probably dead. He walked slowly along the line, prodding each body. Limp, limp, stiff.

Stiff. Stiff. All dead, without doubt. Each had had a smaller dose than the last, but all had died—though he couldn’t yet be positive about the latest. Wait a bit more, then, to be sure.

He needed to know. Because the Court of Miracles was talking. And they said the frog was back.

Praise

Praise for Diana Gabaldon’s Outlander series
 
“A grand adventure written on a canvas that probes the heart, weighs the soul and measures the human spirit across [centuries].”—CNN, on The Fiery Cross
 
“History comes deliciously alive on the page.”—New York Daily News, on Outlander
 
“Abounds with Gabaldon’s sexy combination of humor, wild adventure and, underlying it all, the redemptive power of true love.”The Dallas Morning News, on The Fiery Cross
 
“Gabaldon is a born storyteller. . . . The pages practically turn themselves.”—The Arizona Republic, on Dragonfly in Amber
 
“Wonderful . . . This is escapist historical fiction at its best.”San Antonio Express-News, on Drums of Autumn