The Baroque Cycle: Quicksilver, The Confusion, and The System of the World

by Neal Stephenson

Mayflower Ham, neé Waterhouse—tubby, fair, almost fifty, looking more like thirty—gave him a hug that pulled him up on tiptoe. Menopause had finally terminated her fantastically involved and complex relationship with her womb: a legendary saga of irregular bleeding, eleven-month pregnancies straight out of the Royal Society proceedings, terrifying primal omens, miscarriages, heartbreaking epochs of barrenness punctuated by phases of such explosive fertility that Uncle Thomas had been afraid to come near her—disturbing asymmetries, prolapses, relapses, and just plain lapses, hellish cramping fits, mysterious interactions with the Moon and other cœlestial phenomena, shocking imbalances of all four of the humours known to Medicine plus a few known only to Mayflower, seismic rumblings audible from adjoining rooms—cancers reabsorbed—(incredibly) three successful pregnancies culminating in four-day labors that snapped stout bedframes like kindling, vibrated pictures off walls, and sent queues of vicars, mid-wives, physicians, and family members down into their own beds, ruined with exhaustion. Mayflower had (fortunately for her!) been born with that ability, peculiar to certain women, of being able to talk about her womb in any company without it seeming inappropriate, and not only that but you never knew where in a conversation, or a letter, she would launch into it, plunging everyone into a clammy sweat as her descriptions and revelations forced them to consider topics so prim...